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Friday, February 16, 2007

TRUTH AND FICTION, by Gene Edward Veith



"Used by permission © WORLD magazine, all rights reserved Subscriptions: 800-951-NEWS or www.worldmag.com."


Christian fiction has become a genre unto itself, filled with clichés, conventions, and pop-culture imitations. And yet, Christian authors were once the giants of literature, writing about all of life from a Christian worldview and using their art to influence the imagination of the whole civilization.

What writers, publishers, and readers need today is not just Christian fiction but fiction informed by a Christian worldview, with the potential to break through once again into the wider culture. Toward that end, WORLD is working with WestBow Press, Thomas Nelson’s new fiction division, to sponsor a fiction-writing contest to discover a new wave of Christian writers.

Some 45 percent of all trade books sold today in the United States are fiction. Although Christian writers were the great pioneers of literature, for awhile evangelicals, both authors and readers, lost interest in fiction. But this has been changing. Fiction is the second-biggest-selling category for Christian publishers, just after “Christian living,” making up 15 percent to 20 percent of all their sales.

Lately, Christian authors and publishers have been imitating the pop culture, with its formulas and conventions, rather than creating genuine literary art. But Christian writers and Christian readers are growing in their tastes and in what they are capable of writing and reading. Though for awhile Christian novels were only read by Christian readers, the barriers that ghettoized explicitly evangelical books have been coming down. Christians have a powerful literary tradition, extending well into the modern era, ready to be reclaimed and carried on.

Divine narrative

The Christian literary heritage begins with the Bible. God reveals Himself not primarily through visions or mystical experiences but through a book. Thus, Christians have always prized reading.

God’s revelation in the Bible—the very word means “the book”— comprises many literary forms: poetry, laws, letters, and while it does contain passages of theological discourse (for example, the epistles of Paul), much of God’s Word consists of narratives. That is to say, stories.
A narrative is a rendition by language of an unfolding action. Whereas expository writing sets forth ideas, narrative re-creates an event. A story gives us characters, dialogue, and description, all of which enables a reader or listener to enter into the experience vicariously by imagining what took place.

The Bible’s narratives are true and historical. (Prose narratives in the historical style that are fictional would not be invented until the 18th century.) But God’s Word gives us true stories of human beings, in particular places and times, doing things, enduring conflicts, and interacting with each other and with God: Adam and Eve, Cain and Abel, the saga of the patriarchs, Moses and the children of Israel, the historical narratives of the judges and the kings, the exile and the return, the four Gospels recounting the life, death, and resurrection of Jesus Christ, the story of the church in Acts, the mysterious last days in the book of Revelation. Christians have always known that such stories bear rich meanings and that reading them is a profound blessing.

Narratives, whether true or fictional, depict characters, portrayals of human beings. These characters act, creating the story’s plot. Nearly always, the plot entails some kind of conflict, whether an external battle against some enemy, an inner struggle within the heart of a character, the clash of different beliefs, or a combination of all three. There is also a setting, the sense of place and time where the action takes place, and a theme, the truths or insights that the story conveys.

The plot of a story is not just a sequence of random events. Rather, a plot tends to have a definite structure: a beginning, middle, and end.

The Bible, as the Book of books, has a plot of its own, contributing a particular shape to Western narratives. It sets forth a clear beginning: the creation of the universe. There is conflict: human sin vs. the grace of God. The narrative has a middle, a climactic turning point, in which the conflict is resolved: the life, death, and resurrection of Jesus Christ. And the book moves to a definite conclusion, a dénouement tying up all the loose ends into a happy ending: the coming of Christ, the last judgment, and His eternal reign. Not only the biblical narrative but all of human history is taken up into this story, as is the life of the individual believer.

Biblical narrative is very different from the narratives of pagan mythology. Those are organized into cycles. Time repeats itself, with multiple creations and endlessly recurrent patterns. Thus, Greek epics begin in the middle of an already occurring action. Greek plays are organized into cycles of generations caught in the webs of a constantly repeating fate. The Bible’s stories, though, show time as a straight line, with not only a beginning and middle and end but a direction. Thus, Western narratives after the Bible tend to follow a chronological order in which characters can change and grow. Also, myths take place in an idealized realm removed from ordinary human experience. Biblical narrative, though, takes place in specific places and times, emphasizing historicity and stylistic realism.

While biblical narratives are true stories, there is also a sense in which the Bible enabled the invention of fiction. The early church proclaimed that the pagan myths were untrue. They were just stories. They could be appreciated as stories, said the early church, as long as they were not believed to be true. Christians were encouraged to look at myths as stories that may be pleasing and even instructive and worth studying, as long as they understood that the events they recorded never happened. Thus, the early Christians, as far as Western literature is concerned, invented fiction.

Life as it should be

The highest biblical authority for fiction, of course, is the example of Jesus Christ, who taught the kingdom of God by means of parables. Indeed, says Matthew, “He said nothing to them without a parable” (Matthew 13:34). The term comes from the Greek word for “comparison” and was a common ancient genre that explained a truth by comparing it to a hypothetical tale. Jesus used parables to communicate vast spiritual truths to the fallen human mind. His parables, though, did not make the truths He was revealing simpler or easier to understand. Rather, He used parables not only to make things clearer but apparently sometimes to make them more difficult (Matthew 13:10-17), since one symptom of the fallen human mind is to seize upon some superficial knowledge while remaining blind to the full truth and failing to “understand with the heart” (Matthew 13:15).

Some Christians, historically, have objected to fiction on the grounds that it consists of “lies.” But Sir Philip Sidney, with his Puritan sympathies, decisively answered that objection in 1595 in “A Defense of Poesy.” A lie, he said, is something affirmed to be true when it is not true. A piece of fiction, though, “affirmeth not.” It is not presented as something true, but, by its very name, something made-up, an imaginative construction. History, philosophy, even theology, said Sidney, are full of lies: statements put forward as true when they are really false. Fiction, on the other hand, because it never affirms, never lies.

And yet, Sidney says that fiction is connected to a larger truth. Fiction, he said, presents life not as it is, but as it could be and should be. Sidney believed that literature had an important function in the teaching of morality. Fiction can instruct us in the human condition and provide models for us to emulate or avoid, training us to take delight in what is good and to be repulsed by what is evil.

William Kirk Kilpatrick, in Psychological Seduction and Why Johnny Can’t Tell Right from Wrong, has shown how the moral formation of children is shaped by stories. Children learn to root for the “good guys”—and to identify with them—and to fear and be repulsed by the “bad guys.” It is not enough to tell children abstractly what is right and what is wrong. For them to internalize morality, it must be brought to life.

Fiction does not need to be moralistic to be a good influence. The very act of entering into a character’s point of view is training in empathy, the ability to “rejoice with those who rejoice” and to “weep with those who weep” (Romans 12:15). Fiction also gives us vicarious experience, the ability to imaginatively experience something without having to experience it in real life. It becomes possible to undergo life-shaping experiences—the danger of war, the trials of love, the stimulation of travel, the overcoming of suffering—from the comfort and safety of one’s easy chair. Though vicarious experience is secondhand and nowhere nearly as powerful as actually experiencing such things in real life, the benefits of reading fiction in broadening a person’s horizons should not be underestimated. Reading fiction can also be a way of reflecting upon the human condition—its tragedies and comedies, its complexity and glories—and it can serve as a mirror to help readers know themselves.

Of course, that fiction can have such a powerful positive influence means that it can also have a negative influence. Vicarious experience can be sinful, with some fiction encouraging evil fantasies and emulation of models that are destructive. Readers need discernment and taste, and they need high-quality books to read.

Romance novels

The earliest fiction in Christian Europe was the genre known as the romance. This refers not primarily to love stories but to medieval tales of knights, chivalry, and adventure. Love was usually an issue in the medieval romances, which led to the later meaning of the term, but their main characteristic was an emphasis on plot, external action, and fantasy (as opposed to hard-edged realism).

The romance tradition includes Christianized versions of pagan legends (such as Beowulf). It also includes imaginative sagas of Christian kings and heroes (King Arthur). The impulse toward fantasy also manifested itself in symbolic stories (the quest for the Holy Grail) and theological allegories (The Divine Comedy).

Realistic fiction, though—as in novels that emphasize characters and their inner lives in an actual-seeming setting—developed much later. At first, these took the form of mock-romances, which made fun of medieval ideals by contrasting them with actual life (Cervantes’s Don Quixote [1605]). Bunyan’s Pilgrim’s Progress (1678) took the medieval genre of the Christian allegory and rendered it with an innovative realism. Then there were the pseudo-histories, renditions of romantic plot devices (such as being stranded on a desert island) in a historical style (Defoe’s Robinson Crusoe [1719]).

The first modern novel is probably Samuel Richardson’s Pamela, or Virtue Rewarded, published in 1740. This work consisted of a series of letters from a young serving girl trying to make her way in the big city. Before long, her employer tries to seduce her, leading to elaborate abductions and escapes as Pamela defends her chastity against a dastardly villain, who eventually becomes converted. The letter device allows Richardson to develop what would become hallmarks of modern narrative: Instead of the author narrating the tale, the main character, Pamela, tells what happened to her in her own voice. And the rather slender and far-fetched plot becomes secondary to the character delving into her own inner life.

After Pamela, the novel as an artistic form exploded in popularity and variety. The early novelists, by and large, worked from a Christian worldview. Pamela knew that extramarital sex was wrong, and she resisted a predatory man to keep her virtue. Even stories that had little explicit religious content assumed a moral and spiritual order. Right and wrong were objective categories. Human beings were seen as sinful yet spiritual beings in a challenging yet ordered world. The early novels’ constant themes of love, marriage, family, responsibility, duty, and purpose were all informed by a biblical view of life.

Jane Austen, the pastor’s daughter, wrote unparalleled fiction about the comedies and dramas inherent in her small country parish. Charles Dickens invented unforgettable characters and sparked social reforms.

Other novelists took up explicit Christian themes and explored them in their depths. Nathaniel Hawthorne explored the dark recesses of our fallen human nature. Fyodor Dostoevsky plunged into the mysteries of sin and redemption. George MacDonald explored his faith both in realistic novels and in highly symbolic and evocative fantasies.

Even in the supposedly secularist 20th century, Christians continued to make their mark as fiction writers. A number of Catholic writers wrote powerful works that addressed the spiritual emptiness of modernity with a vision of Christianity that was seldom merely the theology of Rome: Graham Greene (The Power and the Glory); Walker Percy (The Thanatos Syndrome); Flannery O’Connor (The Violent Bear It Away). Then there were the enormously popular and influential Christian fantastists J.R.R. Tolkien (The Lord of the Rings) and C.S. Lewis (The Chronicles of Narnia).

These authors were all published by secular, general-market publishing houses. They gained wide audiences and critical acclaim. They also influenced their cultures and touched the lives of their readers, in some cases bringing them to faith.

Yet, ironically, evangelicals—readers, writers, and publishers—were largely ignoring fiction, until they invented a genre of their own.

Genre fiction

In the United States, many conservative Protestants separated themselves from the increasingly secularist modern culture. Part of this was due to Christians who wanted to be uncontaminated by the godless culture, and part of it was due to the godless culture’s hostility to Christian faith.

The Christian publishing industry grew up and its products were sold in Christian bookstores. Most of the books put out were devotional helps, Bible studies, and guides for Christian living. Except for a few historical novels and Bible retellings, there was very little fiction.

Then, in 1978, Frank Peretti’s spiritual thriller This Present Darkness was published, a dark tale about a titanic conflict between demons and angels that loomed behind a small town’s controversies. Jan Dennis, who was Mr. Peretti’s editor with Crossway, told WORLD that his manuscript had been turned down by 15 publishers before Crossway took a chance and put it into print, in a tiny print run of only 4,000 copies. But the Christian horror novel sold over 2.5 million copies.

Mr. Peretti’s novel and its sequels showed evangelical readers the power of fiction (though, arguably, many of them were so inexperienced with fiction that they took the “spiritual warfare” motif as fact, instead). Evangelical publishers now had a market for fiction, which they proceeded to serve with a great variety of products. Today, as much as one-fifth of the sales for Christian publishers comes from fiction: Christian romance novels, Christian horror, Christian science fiction, Christian fantasies, Christian conspiracy novels, Christian political novels, Christian techno-thrillers.

The limitation of this fiction is that it is mostly “genre fiction,” that is, fiction written according to a predictable formula based on prefabricated models. It is geared mainly to entertainment, rather than reflection. It follows conventions, rather than being original. It is written to sell, rather than to be a serious, complex work of Christian art.

Writing in a particular genre need not prevent the work from being valuable. Great literature too has its conventions. The “novel of manners” perfected by Jane Austen and followed by many more is about social interactions leading to marriage. Mysteries, with their detectives solving a crime, follow strict conventions, and yet the form has produced some outstanding writing, including that of Christians (Dorothy L. Sayers, P.D. James). But too often, in the hands of indifferent writers, genre fiction is little more than a collection of clichés.

The bigger problem is that for all of the different genres it follows, evangelical fiction has become a genre unto itself, with conventions of its own. One-dimensional virtuous characters contend against one-dimensional villains. The style is preachy. The theme is moralistic. The plot is characterized by implausible divine interventions. While the convention demands a conversion, the characters are never allowed to do anything very sinful, or, if they do, the author is not allowed to show it. At the end, all problems are solved and everyone lives happily ever after. It is all sweetness, light, uplift, and cliché.

The biblical complexities of sin and grace, the inner conflict between the old nature and the new, the necessity to bear one’s cross, are missing. So is biblical realism. So is the ability to draw in nonbelievers and confront them with the hard truths of God’s Word.

What happened is that while evangelicals at one time pulled away from engagement with the culture, they rejected the high culture of ideas, creativity, and the arts. But they embraced uncritically the pop culture, the realm of entertainment, pleasure-seeking, and shallow commercialism. While the modern and postmodern high culture may be hostile to the biblical worldview, Christianity can compete with the high culture on its own terms by claiming and building upon the absolutes of truth, goodness, and beauty that current worldviews have abandoned. But in embracing the pop culture, evangelicals have opened themselves up to what is shallow, fake, and empty in contemporary life. Instead of filling those voids, pop-Christianity falls into them.

But Christian fiction is changing, heralding perhaps a more fruitful engagement with the culture on the part of American evangelicals.

Mainstream breakthrough

The Left Behind books by Tim LaHaye and Jerry Jenkins were, in many ways, conventional Christian fiction, following the genre of End Times novels. And yet, the 12 books in the series, swept along by millennium fever, dominated the bestseller lists for a decade. They sold so many copies that they broke out of the Christian bookstore market, into the Barnes & Nobles and Borders, into airport newsstands, onto The New York Times bestseller lists, which once excluded books from Christian publishers no matter how many they sold.

“Left Behind did break down the barriers,” said Mr. Dennis. “It became so huge that it was given an opportunity that most Christian fiction doesn’t get, to sell in the general market.” The secular bookstores started carrying other evangelical titles. In the meantime, Christian publishers started cashing in with other crossover titles (The Prayer of Jabez, The Purpose Driven Life). They now had access to the general marketplace, a vast new audience, which also gave them a new mission, to reach secular readers with the Christian message.

But this meant they had to compete with the established secular publishers. There was a time when books from Christian publishers just did not look as good as those from mainline presses. They looked cheaper, had poorer paper, bad cover art, and just did not seem as professionally designed. This has changed, though, as Christian publishers give more attention to the quality of their production. The writing also had to get better, and it has.

In the meantime, talented Christian writers were finding success with publishing companies that were secular but that allowed them to express their faith in terms of their art: Walt Wangerin (The Book of the Dun Cow); Frederic Buechner (Brendan); Larry Woiwode (Beyond the Bedroom Wall); Jan Karon (The Mitford series); Leif Enger (Peace Like a River); Bret Lott (Jewel). Not to mention Christian authors who became sure-fire bestsellers who wrote more popular fare that was not explicitly religious, but nevertheless allowed their worldview to shine through (John Grisham, The Firm; Tom Clancy, The Hunt for Red October). Christian publishers wanted to attract writers like that. Lately, some talented new authors have emerged from Christian circles, and now Christian publishers are more inclined to turn them loose.

(**This article was written in 2004. This contest has already taken place**)

WestBow’s experiment

Thomas Nelson is the biggest Christian publisher. Moreover, it is the ninth-biggest publisher of every kind in the world. Currently, over half of its sales are in the general marketplace. The company has just launched a new fiction division, WestBow Press.

Allen Arnold, the head of WestBow, told WORLD that “the days of traditional Christian fiction are over.” His plans are to publish authors who write from a distinctly Christian worldview but whose works go beyond the typical formulas and have the potential to reach beyond the typical Christian marketplace to have an impact on the culture as a whole. “We don’t publish Christian fiction,” he said. “We publish fiction from a Christian worldview.”

He wants to free Christian authors, who often feel constrained by secular publishers to tone down their faith and who feel constrained by Christian publishers who will not let them tell their stories.

“We’ll only partner with authors who write from a Christian worldview, but the stories will be true to what the stories are about,” Mr. Arnold said. “Sometimes faith will be explicit; sometimes more implicit.” Just as the biblical worldview encompasses all of life, the fiction he is looking for need not even be conventionally “religious,” as long as it embodies the reality that God has made.

This does not mean that WestBow will blindly emulate secular publishers. “Readers should know they need not fear being corrupted by a WestBow book,” he said. “We will never publish something that we feel we could not stand with before God.” But there will be no predetermined model or list of rules. There will be no attempt to imitate commercially successful patterns. We should not try to copy what the world is doing or what other publishers are doing, he told WORLD. “We should be tapping into the ultimate creator of all—God—the source of true creativity.”

WestBow inherited Thomas Nelson’s other fiction titles, so some conventionally Christian fiction remains on their list. Mr. Allen stressed that the company will still publish books specifically for the Christian market. But the new division has higher goals. He wants WestBow to become one of the top 20 publishers of general-market fiction.

The vision of publishing high-quality works of art by Christians for general audiences may seem ambitious. But Mr. Allen points out that this is the way it used to be. Christian formula fiction is relatively new, dating just to the 1970s. “Before that, Christian writers wrote for everyone.”
WestBow takes its name from the printing press and bookshop operated by the original Thomas Nelson back in Edinburgh in 1798, which was located on a street named West Bow. That shop sold Bibles, and it also sold Pilgrim’s Progress, Robinson Crusoe, and, later, books by Jane Austen, Charles Dickens, Robert Louis Stevenson, Nathaniel Hawthorne, Louisa May Alcott, and other of the best authors of his day. Why shouldn’t we have Christian writers like that today? Why shouldn’t Christian literature have the cultural influence that it once did?

But God needs to call and equip writers equal to that task. And those writers need to be discovered, mentored, and brought to the public.

To that end, WestBow, in its search for new talent, is working with WORLD in the WORLDview fiction contest. (See the sidebar for details.) If you are a storyteller, enter the contest. If you are a reader, check out the entries that will be posted on WORLD’s blog site, giving your feedback and voting for your favorite. Either way, do your part in carrying on the Christian literary tradition. —•

20 comments:

  1. What was the purpose of posting this article? It seems like it is really out of date and not all that relevant to where things are today.

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  2. Thanks for posting this again. We as Christian writers need the reminder.

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  3. Great article! Thanks for bringing it to us.

    The article said, "But the new division has higher goals. He wants WestBow to become one of the top 20 publishers of general-market fiction."

    Kristy, here: Does anybody know if they achieved this yet? It's great, what they're doing.

    The article said, "The vision of publishing high-quality works of art by Christians for general audiences may seem ambitious. But Mr. Allen points out that this is the way it used to be. Christian formula fiction is relatively new, dating just to the 1970s. 'Before that, Christian writers wrote for everyone.'"

    Kristy, here: That's because before the 70s, a writer didn't have to put in expletives and graphic sex scenes. Now, they do (for the most part). I think THAT'S the reason the genre of Christian fiction emerged. I liken the need for Christian fiction to the need for Christian magazines and music. But if, as Arnold says, quality fiction can be produced by Christian writers that appeals to the general reading audience, Bravo! I see that happening today, and I, for one, would like to see more of it. Thanks, NJ, for bringing us this timely article.

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  4. I'd thought I'd pop in and answer the first question as to why I posted this. Here's a section of the e-mail I sent to World Magazine when I requested to reprint their article:

    "In the hopes that you (Mr. Veith) read this e-mail, I'd like to tell you that your article changed many lives. After the World/Westbow contest, several writers banded together to form critique groups, of which I've participated in two. I know of at least five people who began to write as a result of your article, and they continue to press on.

    Recently, I received an e-mail asking whether I had saved a copy of that article, as this writer wanted encouragement by reading it again. Thus, I would like permission to post it on our blog. It changed the lives of many who read it the first time, and I'm sure it would again."

    Hopefully, that explains why I posted it. The article left a deep impression on me, and I ended up redrafting my entire novel after reading it in 2004. As far as being irreverent, I think being reminded that Christians can use their art to impact culture never goes out of date. I know I need the encouragement to keep writing.

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  5. Plenty of books before the 70's had graphic sex and violence, but the "popular" books of the day didn't. When sex and violence in novels moved into the mainstream, the Christians withdrew into CBA, instead of staying in ABA and selling less books.I do not mean that the founders of the CBA didn't have noble motives. But stop and think for a moment. If Christians had stayed in ABA, their books would have been a viable choice for readers who shun crappy commercial fiction. That's why a some of my non-Christian friends read only older, classic books. They can't stand the sex and violence in the typical airport novel. They don't read Christian fiction because it's onlyfor the Christian culture, they tell me.

    Recently I've read several good ABA books that containted little "offensive" content. I think that the commercial, popular "airport" mass-market paperback novels are what people think of as ABA fiction. Just like Christian fic is stereotyped in the market, so is ABA fiction. There's tons of good stuff to read in ABA, if people take the time to look for it and IMO, if you're an avid reader and a writer, it's well worth it.

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  6. "The bigger problem is that for all of the different genres it follows, evangelical fiction has become a genre unto itself, with conventions of its own. One-dimensional virtuous characters contend against one-dimensional villains. The style is preachy. The theme is moralistic. The plot is characterized by implausible divine interventions. While the convention demands a conversion, the characters are never allowed to do anything very sinful, or, if they do, the author is not allowed to show it. At the end, all problems are solved and everyone lives happily ever after. It is all sweetness, light, uplift, and cliché."

    This is the kind of ridiculous, vast generalization that always ticks me off. This article was negative and highly untrue when it ran, and it's still that way today. I'm with Anonymous--I can't imagine why you'd run this again. Jessica, I'm glad it spurred you to action. I suppose even negative articles can have a positive effect. But this article was a slap in the face to many Christian novelists when it came out--a general put-down of the entire industry to the outside world.

    PLEASE, all of you--put yourself in the shoes of my many hard-working published colleagues, whom I respect a lot. (And many of whom this blog has interviewed.) They are the ones who are put down by this article (myself included). Forget defending myself, though; if anyone wants to cut me down, go ahead. But I get REALLY tired at seeing my colleagues constantly called such things as "preachy, "moralistic," and writing "cliches" and generally dismissed as shallow writers who just dash off books. I SEE these authors angst over their writing, I see them attending weeklong Maass workshops to continually improve their craft after having written 50+ books. I see the emails that go back and forth every day, talking technique and content, asking for feedback and comments. I see their spiritual lives at work as they write. These are the authors that have given us an industry to even be talking about. These are the authors who slog to their computers every day to write whether they feel like it or not--which is the REAL rubber-hits-the-road test of knowing the craft.

    Who out there reads all sweetness and light in every Christian novel? Plots full of "implausible divine interventions?" Nobody sinnning very much?

    When an article is this out of touch with reality, and this negative and nasty, I can't hear anything good it might be trying to say. Such talk loses all credibility.

    Again, great if it spurred people to start writing. But PLEASE, everyone, can't we be a little more sensitive to the people who already ARE writing, and who are the constant targets of such distribes as this?

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  7. Thank you for sharing this article!

    When I read it almost three years ago, I was inspired to dig up the 'talent' I'd buried. Not that I will ever be an Austen or a Lewis, but God used this article to gas up the spark and move me to strive to be faithful. I love to write. And I love to read, especially stories that brilliantly display LIGHT.

    I heard someone say recently that we shouldn't blame the darkness for being dark. We should expect it to be dark. That is what it is. We should blame the light for not shining in the darkness.

    How I rejoice to see Christian authors whose works are selling in the general market! Lighting the darkness! Why aren't there more? Why are books by Christian authors typically hidden in the Christian section rather than mixed in and displayed on shelves with other books of similar genres?

    And why do Christian publishers prefer to publish "SAFE" stuff, and as Veith put it, constrain Christian authors from telling their stories? How many times have I heard of books being perhaps too racy for the CBA but too Christian for the general market? Like some first thought of Mary DeMuth's Watching the Treelimbs.

    How can we expect people living in the darkness to relate to good characters who aren't allowed to be too flawed? Especially if those characters are Christian! How can we expect sinners to flee to the light of the cross when we won't show them Christian characters needing Jesus other than for a band-aid?

    Though I may not be an Austen or a Lewis, I pray that those Austens and Lewises out there will read this article, and others like it, and be inspired to write and further develop their talents. How thrilling to see many Christian authors who are doing exactly that!

    I pray that Christian publishers would take more risks publishing stuff that may be a little on the dark side in the hope that the LIGHT will shine more brilliantly. We live in a culture desperately in need of light. I also pray that more Christians would seek to be published in the general market like Karon and Enger.

    God bless you, Novel Journey, World Magazine, Gene Veith, and Christian novelists and publishers seeking to shine the light in the darkness!

    Reni B.

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  8. But Reni B, Christian publishers ARE taking more risks . . . just look at the work of Lisa Samson, Mary DeMuth, Athol Dickson and people like Brandilyn Collins who commented above. Sometimes we have to stand back and truly see how far we have come in "Christian" fiction. Look around, we are dealing with some very flawed characters in books that we read about on NJ all the time. Plus,there is some truly gifted and amazing writing going on here that sells not just in Christian bookstores, but in B & N, Walmart and Target. There is so much encouraging information out there, however this article isn't one of them. And if I can be so bold, I think that it is pandering to Westbow. Certainly not the only person in town doing quality fiction. Honestly, Jessica I am much more intetested in the original text of a publicist than redo's like this. Thank you for listening to me.

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  9. Gina is away on vacation, and after reading Brandilyn's points, I've considered taking down the article as the intent was not to criticize. But I am hesitant to because it inspired me to completely change my writing, and I know there may be others like me who are wrestling. Therefore, I hate to end the open dialogue.

    There was no intent to offend authors (or publisher.) Without doubt, there is amazing fiction and we are accomplishing the points made in this article, such as Annette Smith's A Bigger Life, Mary DeMuth's Watching the Tree Limbs, and Charles Martin, just to name a few.

    Yet, this article does make great points. Such as:

    --Where the Christian literary heritage begins

    --Defending the use of Fiction (I know of Christian media outlets that still do not see fiction as a viable ministry and I love the defence written here.)

    --The history of fiction and how Christian authors impacted the world in times past

    --And last but not least, a cry to use the gifting God gave us to impact culture.

    It was this challenge that kept me from writing cliches and forced to really evaluate what I was writing and why.

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  10. I greatly appreciate Brandilyn Collins comments in regards to this article. I have spent the last seven years more or less out of the CBA environment and when I started researching CBA again for a potential market for my work I was appalled at the changes. There are still excellent Christian writers who write excellent novels that speak to the hearts of their readers while remaining true to the Gospel and to God's Word. What I have found creep into the so called Christian market are novels that contain things, ideologies, etc. that do not come from a Biblical Worldview. Yet, I realize that is the trend of Christianity today. We have become so caught up with trying to appeal to everyone that we have forgotten there is only one who we need to appeal to and that is God. We have left the simple teachings of the Gospel and the truths of the Bible in order to call attention to ourselves so that the world might find us attractive - the very opposite of what Christ was. The world hated Him. Paul charged Timothy to preach and teach the Gospel, and let other things go. Paul himself said "But we preach Christ, crucified, unto the Jews a stumblingblock, and unto the Greeks foolishness; But unto them which are called, both Jews and Greeks, Christ the power of God, and the wisdom of God." (I Cor 1:23-24) He also said "For I determined not to know anything among you, save Jesus Christ, and him crucified." (I Cor. 2:2) The real issue isn't trying to get the world to like us, rather how do we reach the world with the Gospel - something that is offensive to it. Our writing shouldn't be driven by the desire to sell more, but to glorify God, staying true to His Holy Word, staying true to the Gospel, and let the Holy Spirit do the work. Preach the Gospel plain and simple. Let God do the rest. Yes, good characters are a must. Yes, good plots are a must. But more than these things - if we are writing for God - stay. true to Him, His Word, and His Gospel. This supercedes anything else.

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  12. Judging by the heat and volume of these comments, it was a great idea to post this piece.

    I, for one, agree with Suzan: Intentions matter, but the final product matters more.

    A good portion of mainstream books aren't that great either. What's really bothersome about a lot of Christian fiction, however, is that it reads as contrived. It doesn't honestly portray human nature (read: sinful). That isn't necessarily the fault of the writer; it might be attributable to the publisher's constraints. But dishonesty is never good for fiction -- and that's what the article stresses. It reminds us of our great beginnings as Christians who thought, cogitated, argued and wrote. And it points to our terrific future, if we will return to that beginning where quality was just as important as content.

    If we are all God's children, why aren't we, as Christians, writing about all God's children, for all God's children?

    Thanks for posting this article, Jessica. I've forwarded it to a bunch of writer friends, all of whom need the encouragement.

    Sibella Giorello

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  13. "There are all genres and all types of work in the CBA market, and some of them are great novels, but some of them ARE preachy and mediocre. That's life. No market or product taken as a whole is without it's mediocrity. Perhaps discussions like this could help authors grow." --Suzan

    Suzan, this is a viable argument. I don't know anybody who's writing in the CBA fiction world who isn't willing to improve his/her writing. And all of us are also willing to be professionally critiqued--we're reviewed all the time. Just have a look at PW and Library Journal. And yes, we are talking about product. I argue against one thing only--the vast generalization that every novel (PRODUCT) in CBA is mediocre, shallow, etc. That's what the article said. That's what's been intimated by other people as well. And it's simply not true. Honest, thoughtful critique of an individual book--fine. But there's no point in cutting down an entire industry with the wide generalizations.

    A few days ago I ordered Sibella's book. I'm looking forward to reading it. I don't expect to find it shallow, full of cliches, etc., but the World article would place it in that category along with every other Christian novel.

    Jessica, I think this is a great dicussion. I agree you shouldn't stop it now. Many of you out there reading and/or responding--I know you. I love you, y'all are my pals. I never thought Jessica's intention was to hurt. No way. I said what I did simply to open eyes to the fact that the negative tone of ALL Christian fiction being bad, bad, bad really does hurt those who are producing it. And as Christian brothers and sisters, we need to be concerned about that. I'd love to see us have these conversations and hear all sides of the argument--how we all can improve in our craft, etc.,--without hearing the diatribes against CBA in general. Those are negative. But discussions made in fairness can be positive.

    One thing, though--we all have to be very careful in our judging of others' fictional tastes. What one reader might call "contrived" and not "honestly portraying human nature," another reader will call "wonderful," and just what he/she needed to spur some change in his/her spiritual life. This gets back to that whole "safe" issue that I just blogged about on Charis Connection. What is safe content-wise for one person may be very boring and trite for another. But okay. There's room for all. There are different target audiences that we authors write for. If I personally lie on the outside of some target audience, it becomes very easy to judge that audience's fiction as not meeting certain criteria that I have. But again, that particular book wasn't written for me.

    Love to you all. I hope you continue with the good discussion. Sibella, I'm really looking forward to reading your work.

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  14. I thought the World article was a good overview -- kind of where we've been. Who knew "Pilgrim's Progress" was at one time experimental, edgy fiction ;-)

    Ann

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  16. I have written Jessica privately but wanted also to post a public apology for coming down so hard on her in my first comment. Seems to me in my quest to keep some people from being hurt, I have very possibly hurt someone else--so what good is that?

    In case you haven't noticed, God is not through with me yet. I have these rough edges that need to be sanded--and it's not very pretty at times. So please, Jessica, and anyone else who felt offended at anything I said--I hope you'll accept my apology for blasting at you. Blessings, all.

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  17. Brandilyn,

    Your comments are a huge part of why this debate is important; in many ways you're right to be upset with the story. Books like yours are one reason other people disliked that article - good CBA fiction is out there, and growing. The article did have generalizations far too wide for current events in CBA. It's now about three years since this was originally published, and a lot has happened since then.

    But, we still have to be careful not to judge CBA books by intentions ONLY. Jesus mentions this human tendency of ours often. We would be well-served to remember where the road full of good intentions will lead us. Yes, the CBA world has changed, dramatically, and many people are already over and done with this article's points. That might be part of your reaction -- at times, the writer did make it sound like CBA is some sweet-smelling cesspool of literature. That's not true, we know that. But we've all read stuff where the good intentions overshadowed the final product, in terms of art and literature. It's painful to say, painful to realize that we're perhaps not as demanding as other publishing outlets. We are called to love, and in our love we are definitely not as cut-throat as the secular publishing world. This is good, and this is bad sometimes for the final product.

    As for your "rough edges" -- you're welcome to get in line behind me for the belt sander! I find myself turning far too often to a quote I read somewhere: "Most of the good work in this world is done by people with rough edges. They're the ones that cut through the surface to reveal what's underneath, what nobody else wants to look at."

    This is a great debate, and proof that we're on the right path to good, honest, daring fiction. Look at the force and conviction here!

    Thank you from the bottom of my heart for ordering my book; perhaps you'll be able to say it's worthy; perhaps not. But we should all keep aiming for the high standard set by God that holds us all accountable for our actions, for our end results. We are writers and we are people and we are all works in progress, just like our fiction.

    Sibella Giorello

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  18. Hi again--
    I visit blogs so infrequently, I don't know how long discussions like these continue, so I have no idea if anyone will even see this comment.

    But just in case...
    Brandilyn, I wanted you to know that I wrote my prior comments before your post came through. It never occurred to me how vastly different the perspective of a published writer would be. I can see now how some of the things Veith said were generalizations. And when you work as hard as you do in striving for excellence and developing the craft, I can only imagine how disheartening some of the things he said were to you and other published writers.

    My journey in trying to write fiction really began with this article. I'd always known I wanted to write, but I didn't have a CLUE as to what was involved. I even entered the contest with a piece that was moralistic, telling, preachy, and full of cliche. Ugh! Though I agreed with the essence of what Veith was saying about how fiction enables us to internalize morality by bringing it to life, I didn't know HOW to do it.

    As a result of this article, I got hooked up with other Christians, who like you, know what it takes and who have taught me and continue to teach me. The great book recommendations like Self-Editing and Stein on Writing, the workshops like the ones I attended at my first ACFW last September, and critique groups--all of those things have fired me up--and not just about my own writing, but that God is moving so many of His people to take the craft seriously and aim for excellence.

    One of the things I found most interesting at ACFW was the panel discussions about what is allowed and not allowed in the CBA, and that's where my comments about presenting flawed characters come from. It is an interesting tension--on the one hand we don't want to write in such a way that seems to give license to sin. On the other hand, one of the things that gives authenticity to the Word of God is how flawed the people of God are--the fact that David was a man after God's heart and yet committed adultery and murder, and even Samson is included in the Hall of Faith. God is relentless in His pursuit of the wayward--and that gives hope.

    Thanks to everyone for all of your comments. I appreciate how you've all challenged me to think and inspired me to want to continue to strive for excellence and growth.

    Not anonymous--just not a regular blogger!
    God bless,
    Reni

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  19. Thanks, Reni and Sibella and all of you. And thanks to Novel Journey for hosting an interesting discussion.

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  20. I respect the great writers in CBA. This market has grown, and, in fact, risen to the challenge of this two-year-old article.

    That said, I still think CBA has to get out of the "comfort food" mindset, if those who are pushing for deeper things will have a chance of continuing. Dale Cramer, Lisa Samson, Athol Dickson, and many more, are quality writers with small audiences in CBA.

    The edits for my most recent novel call for me to remove "heck" "he passed gas" and other absurdities. So long as we are confined by industry guidelines that don't allow for the whole gamut of human experience, we will continue to have little credibility outside our insulated world.

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