Murder Your Darlings is not a detective mystery or true crime drama.
Murder Your Darlings is writing advice. You see it a lot in writing circles these days, but it originally came from Sir Arthur Quiller-Couch, a British author and professor (known as Q, not to be confused with the WWII spy-gadget-maker). This phrase was first delivered in a lecture to his students in 1914 which was later published. In context, he said, “Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—whole-heartedly—and delete it before sending your manuscript to press. Murder your darlings” (p. 17).
Roy Peter Clark interprets Q’s advice thus: “Ask yourself, ‘Am I including this because it provides the reader with a memorable and delightful piece of evidence to prove the point of my text? Or is it beside the point even though it reveals what a good wordsmith I am?'” (p. 21).
In other words, the phrase, sentence, or paragraph that’s the most precious to you, but doesn’t really add anything to your thesis, must go. Clark opines that you don’t have to “commit verbicide on the words you love the most” (p. 17). You can save them in a file for another day.
Clark, known as “America’s writing coach,” shares advice from over 50 other writing sources in Murder Your Darlings: And Other Gentle Writing Advice from Aristotle to Zinsser. Clarks says, “I am not trying to steal their thunder. I am trying, instead, to amplify it, to pay back my debt to the authors who shaped my craft” (p. 8).
Some of these books are filled with writing advice, and Clark pulls out a lesson or two to discuss. “Most of what you will read here is why I appreciate them, what I or others have learned from them, and what I think you, the reader, can take away and apply to your own work” (p. 23).
Clark begins each chapter with a “toolbox,” a brief summary of the particular principle or writing instruction he’s going to discuss. Then he’ll give a little background about the work he is drawing from, the author, illustrations of the writing advice under consideration, whether he agrees or disagrees and to what extent. He ends each chapter with a short list of “Lessons” summarizing the main points of the chapter.
Clark’s book is quite readable. The Lessons at the end are particularly helpful to remind oneself of the salient tips from a chapter. Some of the writers he quotes from are well-known, others are not.
As you can imagine, I have multitudes of passages highlighted from the book. Here are a few:
It turns out that the internet is not an information superhighway. It is, instead, a polluted ocean with buried treasure sitting here and there on the bottom. Neutralize the poison of the propagandists, hackers, conspiracy theorists, trolls, and bullies by devoting your online efforts to the public good (p. 83).
Early writing is not sculpture, but clay, the stuff in which you will find the better work (p. 105).
An implied social contract exists between the reader and an author of nonfiction and that the contract reads, “Please believe me, my memory of events may be flawed, but none of this was intentionally made up.” If the author decides to veer from this standard, say, by using composite characters, the author must be transparent, revealing the strategies before the story begins, not in a footnote at the end (p. 222).
Donald Murray . . . advised writers to use “Shorter words, shorter sentences, shorter paragraphs at the points of greatest complexity” (p. 231).
Another Roman author, Horace, steps into the light with a sense of mission that is both public and aesthetic, arguing that the purpose of great literature is to delight and instruct or, on the good days, to do both! (p. 237).
This is a secular book, and there are words I wouldn’t use and situations and philosophies I wouldn’t agree with. But I found it fairly easy to sidestep those things just to glean the writing advice.
Clark’s book will help you hone your craft by sharing wisdom with you from sources that you might not have found yet. And the sources he quotes might inspire you to look up the authors’ original works.
Jenkins started out working for a newspaper writing for the sports section while he was still in high school. His goal was to write for the Chicago Tribune until a message at camp about surrendering his all to the Lord led him to do just that. A job editing a Sunday School paper for Scripture Press under a tough editor caused him to hone his skills. An interview led to his first book, a biography. Many of his next books were biographies or “as told to” stories. Then he branched into fiction. Left Behind, the book for which he is probably most well known, was his 125th book.
In Writing for the Soul, Jenkins covers everything from his family policy, motives and tools for writing, discovering what to write and your audience, characters, plot, perspective, and much more. Some of the chapters end with a question and answer section. Interspersed through the chapters are smaller sections covering topics ranging from working with celebrities to the need for humility to internal dialogue of characters. In a paper book, these might have been sidebars: in the Kindle version I read, they were paragraphs withing the chapter but set off by dividing lines.
In-between chapters, Jenkins shares experiences with some of the people whose biographies he has written, from Meadowlark Lemon and other sports figures to musician B. J. Thomas to Billy Graham.
I especially appreciated the sections on making inspirational writing not sound “preachy.”
As you can imagine, I have myriads of quotations marked in this book. Just a few:
Know where your audience is coming from, imagine someone you know or know of who fits in that audience, and pretend you’re writing to that person alone (p. 5, Kindle version).
What’s your passion? Your strength? What field do you really know? Write about it. Fashion a short story, write a poem, interview a leader in the field, or work on a novel. Put yourself and your interests into it (p. 11).
Big doors turn on small hinges (p. 13).
The most attractive quality in a person is humility. Sometimes money and fame will come whether or not you expect or seek them. But if you become enamored with the trappings of success, they become your passion. You need to return to your first love . . . Don’t let success or pressure change you. If you become a success, stick with what got you there (p. 38).
Choice words in precise order bear power unmatched by amplified images and sound and technical magic (p. 54).
Don’t confuse inspiration with initiative. Initiative solves your procrastination problem and pulls you through writer’s block. Inspiration gives you something worth writing about (p. 57).
Variety still keeps the batteries fresh (p. 71).
The stuff that comes easy takes the most rewriting. And the stuff that comes hard reads the easiest (p. 194).
This book was first published in 2006, and my copy was updated in 2012. Just a couple of places seem a little out of date, like working with cassette tapes for interviews (unless people still do that. I’d assume most recording is done digitally now).
He also doesn’t have much esteem for self-published books, thinking the goal of self-publishing is to be picked up by a major publisher. But self-publishing has increased exponentially in the last few years and garners much more respect now than when the first self-published books came across as “homemade” and unprofessional. I wonder if his views have changed on that.
But the majority of his advice is timeless, and I gained much from it.
You can also find Jerry Jenkins’ advice at his web site and blog.
I saw The Writer’s Desk by Jill Krementz mentioned by literary agent Wendy Lawton at the Books and Such blog. I was able to find a used copy at Amazon for around $6. I’ve enjoyed leafing through it the past few days.
The book is made up of large black and white photos of over 50 writers at their desks. Alongside each photo is a paragraph or two from the writer about his or her workspace, style, routine, etc.
It’s interesting to see the wide variety of styles, routines, and even dress. Some of the men came to their desks with sports jackets and ties. James Michener preferred very loose tee shirts and shorts so he was unimpeded as he worked.
The work space for some was clean and sparse. Many had very cluttered desks and offices.
Some had a routine; others were more free form in style.
Some needed absolute quiet and solitude; some were able to concentrate in the midst of everyday family life.
Some wrote longhand, some used a typewriter, others a computer. The book was published in 1996, and some of the pictures are much older. I don’t know how many chose pencils or typewriters instead of computers or just because that’s what was available in their day.
I loved many of the insights:
John Updike writes “by hand, when the fragility of the project—a poem, the start of a novel—demands that I sneak up on it with that humblest and quietest of weapons, a pencil” (p. xi).
Archibald MacLeish: “I am sure—I mean I am not sure at all but I believe—the master poets must come at their poems as a hawk on a pigeon in one dive. I can’t. I chip away like a stonemason who has got it into his head that there is a pigeon in that block of marble. But there’s a delight in the chipping” (p. 77).
Joseph Heller said many of his ideas come when he’s doing things like walking the dog or brushing his teeth. “I don’t get my best ideas while actually writing” (p. 85).
Isaac Bashevis Singer: “Some writers say that they can only write if they go to a far island. They would go to the moon to write not to be disturbed. I think that being disturbed is a part of human life and sometimes it’s useful to be disturbed because you interrupt your writing and while you rest, while you are busy with something else, your perspective changes or the horizon widens. All I can say about myself is that I have never really written in peace” (p. 91). That’s encouragement for people like me who are easily disturbed.
Saul Bellow: “I think that art has something to do with an arrest of attention in the midst of distraction” (p. 99).
Jill Krementz is the wife of Kurt Vonnegut and the author of several other books. She says in her acknowledgements that many of these excerpts came from George Plimpton’s “Writers at Work” series in his magazine.
Of the 56 authors mentioned here, I had only heard of nineteen and read about six of them. So I took a little bit of time to look up the desks of other favorite authors. I had looked up Louisa May Alcott’s desk after reading the novel The Orchard House, taken from the name of the house Louisa lived in while writing Little Women. It’s hard for me to imagine writing much on such a small area, but it was unusual for a woman to have a desk in those days. Her father made the semicircle desk especially for her. I also enjoyed this view of C. S. Lewis at his desk with his cup of tea nearby and Lucy Maude Montgomery at hers. I stopped there, as this rabbit trail could take hours. But maybe someday I’ll explore some more.
I enjoyed this glimpse of writers’ spaces and styles.
In every writer’s conference, writer’s blog, or book about writing I have encountered, writers are told to continually improve their craft. Wherever we are on our writing journey, we need reminders, encouragement, and instruction. We can too easily grow complacent. Plus, changes in what’s acceptable can occur so quickly, we need to keep on top of current trends.
At the last writer’s conference I attended virtually, one industry professional said she read a book about writing or speaking every month. I thought I was doing good to read one a year!
Mr. Le Peau worked for InterVarsity Press for over forty years, spending much of that time as the associate publisher for editorial. He’s also written several books and Bible studies. So he knows what he’s talking about.
He also writes from and for a distinctly Christian point of view.
Le Peau divides his book into three parts: Craft, Art, and Spirituality.
Craft deals with the “nuts and bolts” of writing: creating good openings, endings, and titles, the craft and character of persuasion, narrative nonfiction, etc.
Art goes into creativity, tone, metaphor, restraint, and more.
Spirituality discusses calling, voice, authority, courage, and stewardship.
Several appendices cover platform, editors, coauthoring, self-publishing, and copyright.
I agree with the high praise that others have given this book. Le Peau not only writes well and has heaps of experience: he reads extensively and gives multitudes of examples of what he’s teaching. He writes professionally but without lapsing into academese.
I have many more places marked than I can share, but I wanted to note a few points that especially stood out to me.
After observing that “persuasion is part of almost every piece of nonfiction” (p. 37), Le Peau encourages writers to be honest persuaders.
If we want to be honest persuaders, we will be on the lookout for and stay away from hasty generalizations, false analogies, demonizing opponents, avoiding or sidelining the central issue (that is, using red herrings), and more. Honesty means respecting the truth as best we can know it, respecting contrary viewpoints, giving due credit, and using logic (p. 44).
He points out that “presenting the arguments for these other viewpoints in as strong a form as possible” (p. 55) is not only honest, but doing so actually strengthens our own arguments and the solutions we offer.
Even though this book primarily covers nonfiction, Le Peau encourages using stories. Stories pull us in and touch the heart. Stories “are bound to stick with us long after the information has been forgotten” (p. 60).
His chapter on creativity helped diffuse some of its mystery: “Essentially, creativity isn’t concocting something entirely unprecedented. Rather it is bringing together two things that have been around for a while but previously hadn’t been combined. Innovation almost always involves building on the past” (p. 117).
A few other quotes:
Grammar has one—and only one—purpose: to facilitate clear, effective, powerful, artful communication (p. 129).
Metaphors, similes, and analogies sharpen the sword of our writing. They allow us to cut quickly through the fat to the meat of our purpose (p. 146).
When we are too focused on readers getting our point, we can become didactic and perhaps preachy, engaging only one dimension—perhaps just the mind or just the will. Art engages the whole person—will, heart, soul, mind, and strength (p. 158).
Regardless of what we are writing, however, we must treat our readers with dignity. Don’t announce that you are going to tell a funny joke or story. Give readers the dignity of deciding for themselves if it is humorous. Besides, doing so makes it less funny because you have given away the element of surprise. Don’t say a story will be sad or happy or startling. That inoculates the reader against sadness or happiness or shock. Just tell the story (p. 159).
The goal of writers is not complete originality but to take the past and give it a shake, a fresh look that helps us see reality differently and better (p. 185).
Criticism is not just something to be endured. It is something to help us grow and improve (p. 214),
Though all the book is valuable, perhaps the most valuable part of it is the last section on spirituality, having the right perspective whether in success or failure, remembering we’re stewards of God’s truth and the talents He gave us. “Remember, my identity is in Christ. I am not defined by what I write. I am not defined by the praise or criticism or sales of my book or the number of hits on my blog. My identity is in Christ, who loves me with an everlasting love, who made me, who put the urge to write in me, and who helped me get it out” (p. 225).
I wish I could read a book like this and keep all of its information readily accessible in my mind. Since I haven’t figured out how to do that, I should plan to reread this one every year. Highly recommended.
You can read more from Mr. Le Peau at his blog, Andy Unedited.
In the very first workshop of the very first writer’s conference I attended, the speaker commented that publishing had changed significantly over the past ten years.
He didn’t say how publishing worked before. I assume writers wrote books and sent them in to the publisher, who did the rest. The author would have to fix some things after editors combed over their manuscript. But the publisher would market the book to the waiting world. And that makes sense: the publisher has a much bigger reach than individual authors in their homes.
Now, however, publishers expect authors to do most of the marketing on their own.
One reason is the rise of online book purchasing. Publishers have lost the opportunity to create attractive signs and displays to catch shoppers’ eyes as they browse a bookstore. Many brick and mortar bookstores have closed.
Additional reasons are the success of bloggers with big followings who then publish books and the availability of “influencers” on social media. And though I have not read this, I can’t help but wonder if it’s a cost-cutting measure to significantly reduce a marketing department by having writer’s do their own marketing.
So in these times, one can’t publish a book with a traditional publisher without a significant “platform.” In the blogs and Facebook writer’s groups and Twitter accounts I follow, would-be authors have lamented multiple times that they were told their concept, writing, and style were all good, but they were rejected because their platform wasn’t big enough (as determined by their social media followers and newsletter subscribers). One recent tweet I saw said the writer was told he needed upwards of 20,000 followers. I don’t know if that’s the norm. But all of this is discouraging.
Sure, anyone can self-publish these days. But a self-published book won’t get much beyond family and friends without taking some measure to get it out in front of the public.
All of this puts unknown Christian writers in a quandary. We’re supposed to humble ourselves, not exalt ourselves. We’re not supposed to be self-promotional. Drawing attention to ourselves in that way is distasteful to most of us. And we don’t want to annoy friends by constantly sharing “Buy my book!” posts on social media. So how in the world can we build a platform that publishers require and still maintain a clear conscience and a Christian testimony?
Kate Motaung and Shannon Popkin have wrestled through these issues and shared their conclusions and experiences in Influence: Building a Platform that Elevates Jesus (Not Me). They begin with this helpful analogy: instead of viewing platform like a stage where celebrities seek attention and applause, think instead of a lifeguard’s platform. He’s not there to elevate himself, but to see who needs help and get a life jacket to them. He “puts himself out there” not to be admired, but so those who need help can find him.
As Christian writers, we have a message the world needs. Focusing on serving others will help us maintain the right perspective.
Then there’s the other side of the problem: What if my book is a success? What if my blog post goes viral? How can I guard against getting big-headed and puffed up?
Kate and Shannon acknowledge that praise, attention, “likes,” and such can be addicting. They discuss pride and humility and the biblical foundations necessary for a right perspective.
They also go into envy, comparison, heart motivations, disappointments, dealing with unexpected wrenches thrown into the works. They look at how people in the Bible got their message out.
And they discuss “imposter syndrome”—the feeling that we’re fakes, that we really don’t have anything worthy to say.
The right perspective is to realize and admit that we can’t do it on our own. That we are nothing without Him. That we don’t have anything to say without His enabling. Humility is essential for the people of God. It’s a good thing to think less of ourselves. But it’s not biblical or honoring to the Lord if we doubt His ability to use us for His purposes and His glory (p. 19).
There’s no need to shrink yourself down or deflate your gifts. That’s not humility any more than inflating your importance is (p. 77).
Finally, the authors discuss conquering anxiety over our platforms, times to turn down opportunities, and trusting that God is in control over all.
They’re not only grounded in Scripture, but they are transparent about their own struggles.
There are discussion questions at the end of the book for personal use to to facilitate group discussions.
The one thing I wish they had included was a chapter or appendix on practical ways to build a platform. They mention some in passing. But it would have been helpful to have a list and a brief description. No one can do all the things. Each person can only do what resonates with them and works within their time constraints and personality. But such a list might have given some new ideas to try.
Overall I thought this was an excellent book. It’s one I can highly recommend and one I should probably reread once a year or so.
I have a guest post at Almost an Author today titled Publishing Dreams Can Come True. I share a bit about the immense obstacles one author overcame to write what’s now considered a beloved classic. I want to encourage authors (and others!) to pursue their dreams and overcome their own obstacles with God’s help. I hope you’ll check it out.
On Writing Well by William Zinsser is on just about every list of books recommended for writers. The subtitle, which I assume is not originally Zinsser’s and was added later, is “The Classic Guide to Writing Nonfiction.”
Zinsser lived from 1922-2015. He began as a journalist, later wrote for magazines, wrote books on a wide variety of topics, and then began to teach writing. That vast experience informs this book.
On Writing Well was published in 1976 and has been updated numerous times. My copy was published in 2016 with a 2006 introduction by Zinsser explaining the most recent update to include the computer era.
The first of the book’s four parts covers “Principles”: grammar, style, word usage, eliminating clutter, etc.
Part 2 deals with methods: the unity of the piece, the lead and ending, and various other aspects.
Part 3 discusses a variety of forms: the travel article, memoir, science and technology, sports, business, arts, humor. I might have been tempted to skip or at least skim through this section, as most of my writing doesn’t fit those categories. But I have a compulsion to read all of a book. And I am glad I did. A couple of the principles in this section are:
De-jargonize. Almost any field has its own vocabulary. One business hired Zinsser specifically to help them with communication, because even their engineers couldn’t understand each other any more. In one exercise, he had educators rewrite “Evaluative procedures for the objectives were also established based on acceptable criteria,” keeping in mind “clarity, simplicity, brevity, and humanity.” The best result: “At the end of the year we will evaluate our progress” (pp. 171-172).
Focus on the human element no matter what you’re writing about. He gave an example about race car driving, something I have zero interest in. But the piece grabbed me because it shared one person’s story rather than a detailed technical report.
Part 4 explores attitudes: developing confidence and your own style, etc. In one chapter in this section, he gives readers a window into his thought processes by taking them through a longer piece he wrote and discussing why he made the choices he did.
The “clarity, simplicity, brevity, and humanity” mentioned earlier are what the author calls his “four articles of faith” (p. 171). Those are his main themes, demonstrated by example time and again.
This book is chock-full of good instruction and tips. I have markings and sticky tabs on almost every other page. Here are a few of the standout quotes:
Writing is hard work. A clear sentence is no accident. Very few sentences come out right the first time, or even the third time. Remember this in moments of despair. If you find that writing is hard, it’s because it is hard (p. 9).
The race in writing is not to the swift but to the original (p. 34).
Every successful piece of nonfiction should leave the reader with one provocative thought he or she didn’t have before. Not two thoughts, or five—just one. So decide what single point you want to leave in the reader’s mind (p. 52).
Don’t annoy your readers by over-explaining—by telling them something they already know or can figure out. Try not to use words like “surprisingly,” “predictably,” and “of course,” which put a value on a fact before the reader encounters the fact (p. 91).
True wit, however, is rare, and a thousand barbed arrows fall at the feet of the archer for every one that flies (p. 194).
Don’t alter your voice to fit your subject. Develop one voice that readers will recognize when they hear it on the page (p. 231).
Now, if I could only keep all these wonderful helps in mind all the times I’m writing! I generally only read 3-4 pages at a time so I could process as I went. But I think this is a book I’ll need to reread often in the coming years.
Have you read On Writing Well? What was a major takeaway for you?
I mentioned this a few weeks ago on a Friday’s Fave Five after I was notified, but I just got official word recently.
I entered a Writer’s Digest contest and got an Honorable Mention in the Inspirational/Spiritual category! There were over 4,600 entries covering nine categories.
Writer’s Digest sent us these nifty little stickers:
You’re likely familiar with the phrase “preaching to the choir.” It comes up when one person is holding forth on some topic, and another responds, “Well, Bud, you’re preaching to the choir,” meaning, “I know what you’re saying and I agree with you.” The choir, behind the pastor both literally and figuratively, are probably the most familiar with what he has to say and the most in agreement with it.
I’ve seen Christian authors use this phrase to describe their desire to write for the general market rather than the Christian one. Why keep writing to people who are already believers, who already agree with what we’re saying, when we can use our words to help influence an unbeliever towards Christ?
Writing as a light to the lost is a worthy goal. Yet I wonder just how “general market” one can be and still have any light shine through. One author friend was told by two Christian publishing industry professionals that he’d have more success if he wrote for the general market and took the Christian content out of his latest manuscript. But how can one have any kind of Christian witness without Christian content? Perhaps the idea that readers will like a general book so much that they’ll look up the author, find out he or she is a Christian, and seek to know more about their faith. Or an author might write a few books in both markets, and fans from one will seek out the other.
Some do manage to share Christian truth even in general market books. Jan Karon’s Mitford books share an amazing amount of truth even though they’re not marketed as Christian fiction. Perhaps unbelievers accept her Christian content because her main character is a minister. Or perhaps her stories are just so enjoyable, people who don’t like the Christian aspect are willing to overlook it. C. S. Lewis’s Narnia tales are marketed as children’s books or fantasy, yet they have a Christian undertone veiled by symbolism. One trouble with that veil, though, is that some readers interpret meanings in vastly different ways than the author intended.
What happens with a lot of crossover fiction is that Christians complain that there is not enough Christian content while non-Christians complain that there is too much. One post cited criticism by non-Christians as one reason to remove Christian content from fiction. But some non-Christians will always object to any Christianity in a book, no matter how winsomely it’s expressed. Jesus said the world would hate the Christian message and its messengers. In the past, when a majority of American society had a somewhat God-fearing leaning, general Christian-sounding content was more tolerated. Not so in these postmodern days. Yet we don’t win the lost without sharing the truth. Jesus said, “Sanctify them in the truth; your word is truth” (John 17:17).
Some have also cited a smaller Christian market as a reason to go “general.” The Christian market will always be smaller than the general one. There are more people on the wide road than the narrow one, Jesus said. But that’s no reason to leave Christian fiction behind. Though many Christian writers would love to make best-seller lists, most don’t write for that purpose.
A Christian author might write a great general market book that manages to share light and truth that non-Christians will accept, or at least tolerate. But there are still reasons not to keep writing Christian fiction:
To use God’s gifting. Both evangelism and shepherding/teaching are God’s good gifts (Ephesians 4:11). Neither is a lesser calling. Though we might be called primarily to evangelize or disciple, we’re to engage in both.
To help Christians grow in Christlikeness. The purpose of God’s gifts is “to equip the saints for the work of ministry, for building up the body of Christ,until we all attain to the unity of the faith and of the knowledge of the Son of God, to mature manhood, to the measure of the stature of the fullness of Christ” (Ephesians 4:12-13). Christians are not perfect yet. Even though they agree and support the body of Christian truth, they’re all in various states of growth and maturity. Yes, we grow mainly from reading and hearing the Word of God. But Christian fiction helps flesh out truth. Many times I have been strengthened and encouraged in my own walk with the Lord by the journey of the characters in a Christian fiction book.
To help Christians increase and abound. Wherever we are in our Christian walk, there’s still room for growth. Paul prayed that his readers’ “love may abound more and more, with knowledge and all discernment” (Philippians 1:9). Even though the Philippians were demonstrating their love, they needed to increase.
To provide the missing element. Years ago in Why Read Christian Fiction, I commented that Christian fiction has the element missing from all other fiction: God, His truth, His ways. The best secular story may show literary redemption, a protagonist pulling himself up by his bootstraps and conquering the obstacles. Christian fiction depicts real life for a Christian in dependence on God.
To help work through hard issues. Even mature Christians still wrestle with questions like suffering, seeming inequity, etc. Some who wouldn’t be inclined to read a nonfiction book on these subjects might appreciate a story with characters who ask the same questions they have.
To remind of the truth. New Testament writers often encouraged people to remember the way God had brought them to Himself, the truth they had been taught, etc. Peter said, “I am stirring up your sincere mind by way of reminder” (2 Peter 3:1).
To help readers to be a light. As Christian readers grow and are encouraged spiritually, they will in turn shine the light of Christ in their spheres of influence. So those who write to other Christians are not wasting their light: they’re multiplying it. By strengthening other Christians, we’re helping God’s truth get out beyond our own reach.
To evangelize. Even though Christian fiction might be directed “to the choir” who already knows the truth, there are professing Christians who have found that they were not really saved. And Christian fiction is sometimes accepted by non-Christians. Some of my own loved ones did not like to talk about spiritual issues, but they loved to read and would accept Christian novels I passed along. In one situation, Christian fiction laid a great deal of groundwork towards a person’s salvation.
It’s not wrong for a believer to write for the general market. Some are called to do that and have done so with great success. Most of us need to be more evangelistic in general. We can do everything—eat drink, and write—as unto the Lord. Some people would never willingly pick up Christian books, so if writers can convey truth without being blatant, that’s wonderful. The book of Esther is not fiction, though it is written in story form. It doesn’t mention the name of God, yet His fingerprints are all over the narrative. If Christians can write in a similar way, wonderful!
I would encourage those writing for the general market not to try to be like the world in order to win it. That never works. Jesus was a friend of sinners, but He did not join in their sin. The Bible talks about all kinds of sin, but doesn’t drag readers through the gutter. There’s no need to add objectionable elements in the name of realism.
I also encourage Christian writers not to forsake the Christian market just because it’s smaller or because they don’t think they can be as effective. For all the reasons I’ve mentioned and more, Christians can have a great ministry in Christian fiction.
Have you been ministered to through Christian fiction? I’d love for you to share about it in the comments.
Adam Blumer writes page-turning “meaningful suspense” novels. I loved his first two: Fatal Illusions and The Tenth Plague (linked to my reviews). His third novel, Kill Order, just released a few days ago. Here is the summary:
When he sleeps, the forgotten terrors of the past come alive.
Grammy-winning pianist Landon Jeffers’s brain cancer has given him only a few years to live. But when he sleeps, the forgotten terrors of his past torment him. When he wakes, shameful memories come rushing back. Desperate for answers, Jeffers discovers that a brain implant intended to treat his cancer is really a device to control him, forcing him to commit terrible crimes. Now he’s being manipulated by an evil crime syndicate and a crooked cop.
What if free will isn’t? What if your every move is predestined? If you kill, are you guilty of murder?
Intriguing, isn’t it? I’ve read the book and will be reviewing it next week, and I can assure you, it’s excellent! At the end of this post, I’ll let you know how you can enter to win a signed copy of the book.
Today I am welcoming Adam to Stray Thoughts to share a little about about himself, Kill Order, and writing.
First, a little background information:
Adam Blumer fixes other people’s books to pay the bills. He writes his own to explore creepy lighthouses and crime scenes. He is the author of three Christian suspense novels: Fatal Illusions (Meaningful Suspense Press); its sequel, The Tenth Plague (Kirkdale Press); and Kill Order (Lighthouse Publishing of the Carolinas).
A print journalism major in college, he works full-time from home as a book editor after serving in editorial roles for more than twenty years. He lives in Michigan’s Upper Peninsula with his wife, Kim, and his daughters, Laura and Julia. When he’s not working on his next thriller, he’s hiking in the woods, playing Minecraft with his daughters, or learning new chords on his guitar. He is committed to writing clean suspense that is free of profanity, vulgarity, and sexual content. He is a member of American Christian Fiction Writers (ACFW), the Christian Editor Network, and The Christian PEN. He works with literary agent Cyle Young of Hartline Literary Agency.
What gave you the inspiration to write Kill Order?
My dad, Larry, passed away from brain cancer in 2011, and several aspects of his cancer journey kicked off the initial story idea. One key detail involved a medical procedure; the doctors agreed to remove as much of my dad’s brain tumor as possible and replace it with medicinal wafers intended to fight the existing cancer. My mind began playing the what-if game. What if the doctor implanted something else, something that could monitor or even control my dad’s life? The story’s premise grew from there.
I noticed that your branding on your website is for “meaningful suspense.” What inspired you to write these kinds of thrillers and suspense novels? Also, could you please tell us what inspired your “clean fiction guarantee”?
I began reading Christian novels in junior high and soon gravitated to suspense. Back in the day, an inspirational thread was a staple in Christian fiction, and I believe a Christian novel can do more than simply entertain. These days many authors are leaning toward writing clean, moral stories but avoiding overt Christian content. I’m a believer that the inspirational content should stay (hence “meaningful suspense”). Books can encourage and even challenge readers’ thinking while taking them on a roller coaster of a ride. The “clean fiction guarantee” came about due to the rise of objectionable content in some Christian fiction. My fans were expressing disappointment to me due to content issues when they tried books by some Christian authors. I felt it was time to declare where I stood, and many readers have appreciated my guarantee.
When did you realize your calling to create words on paper to share with the world?
When I was a child, I began writing wildly imaginative pirate and fantasy stories. My first handwritten story was a fantastical tale about Captain Kidd’s spyglass. In high school, I also wrote and finished an unpublished novel called Down with the Ship. It’s such an Agatha Christie copycat that I laugh whenever I peruse it, but emulation is how a lot of authors get to be where they are today. Those were the early projects that inspired me to take novel writing seriously. When I won a high school award for creative writing, I wondered if God wanted to do more with my love for fiction. In college I won more writing awards, and though I studied journalism, I took as many creative writing courses as possible. God opened doors from there, and I’ve never lost my love for fiction writing.
If you could go back in time and give advice to your younger self, what would that be?
Writing the story is only half of the project. The other half is finding out what readers like to read, crafting the story for them by following publishing standards, and writing the story to the best of your ability. Then remember that publishers can take a very long time to decide whether they want your work. Don’t get discouraged. Just keep going and waiting.
Name your three biggest frustrations about the writing business.
The amount of time each book requires from start to finish. Included in this is the long wait time from publishers.
The continually changing rules in writing and publishing. Just when you think you know what publishers are looking for, your agent tells you something else.
Book marketing. One cannot guarantee sales. I wish a book release was like the movie Field of Dreams. “Build it, and they will come.” If only it were that easy. There is almost an equal amount of work in just promoting the book.
On the flip side, what excites you the most about the creative process?
I get most excited about the creative process when a plot development I never saw coming unexpectedly presents itself, taking the story in a new but stronger direction. This epiphany has happened to me several times.
Where is your favorite place to write?
I have been blessed with a wonderful home office. Though I often like to write in other locations, this is by far my favorite place. I can close the door, shut out life’s distractions, pray, and become immersed in my story. Now and then, if I need a break, I can glance out the window and delight in God’s creation.
What are you reading at the moment, and who are a few of your favorite authors and why?
I’m currently enjoying Mind Games by Nancy Mehl. I especially enjoy a good thriller, whether Christian or secular. Some of my favorite authors are Steven James, Terri Blackstock, Frank Peretti, Ted Dekker, and Brandilyn Collins. I like how they weave story threads together and craft their scenes in ways that keeps the plot moving forward. Their books are great examples of what works in suspense writing. I learn so much simply by reading their novels.
What is the best part of your author’s life?
I love hearing from readers who went to work tired because they stayed up too late finishing one of my novels. If I kept them immersed in my story and entertained, that’s a score in my book.
Do you have any new writing projects on the horizon?
I’m almost finished with the first draft of the sequel to Kill Order and hope to have something ready for my agent sometime this fall.
Adam, thank you for stopping by and for giving us another great book. I am looking forward to the next one. Thank you, especially, for producing books that are not only well-written, but clean and meaningful.
Thank you for the opportunity to talk about my writing life at your blog.
Stray Thoughts 