This epic fantasy tells the story of two kingdoms at war. The kings are brothers-in-law—Morfran’s late wife was Damanthus’ sister—but the conflict has nothing to do with family and everything to do with the Territories, a long strip of forest and hills ruled by neither kingdom. The people there govern themselves, but have no standing army.
When Morfran’s soldiers invade, a young shepherd name Gaerbith journeys to the Dissonay capital and begs help of Damanthus to keep the Skardians at bay.
Disson engages Skarda in war, and pushes the invaders out of the Territories and back into the western Plains of Skarda, near the Highlands, a hallowed and feared place where the dead are said to dwell.
When Dragon’s Rook begins, the war is at an impasse. Both sides have lost heavily, and ground has been neither gained nor given in a long while. Gaerbith is now a seasoned soldier and captain of the Fourth Lachmil. His skill in battle has gained him a reputation as possessing magic, but anything special he attributes to the fact that his mother was a Keeper, one of a group of immortals charged with keeping the Great Archive, a storied trove of learning and art that many think is just a myth.
His mother, Uártha, entrusted him with a secret that can only be unlocked when he takes the oath of a Keeper: the hiding place of Azrin, the lost sword of Kel High King, who in ages past slew a Dragon and freed the people.
Yet, even if Gaerbith takes the oath and learns the secret, he can do nothing without Kel High King’s nearest descendant, the only one to whom the sword will answer.
Dragon’s Rook is the name of a cave in Kel Tor near the village of Shea, where a blacksmith lives. He possesses a dagger decorated with the same metal from which Azrin was forged, and he remembers nothing before the day the previous blacksmith found him as a child and took him in as an apprentice.
Kieran Smith and Captain Gaerbith set out on unexpected journeys—the blacksmith to learn who he really is, the soldier to do his duty to a king—and along the way they face great foes, make new allies, gain love or lose it, and must decide whether or not to do the most frightening thing of all: trust their lives to the leading of the Voice.
Dragon’s Rook is currently available as an e-book (visit Keanan’s website or his blog to select which version you prefer), and will be coming soon in paperback.
Advance readers have commented favorably on the cadence and detail of the writing, and on the characters, especially the female protagonists. Some readers have selected the story’s quieter moments—not the battles, not the wonders, but the human interactions—as some of their favorites.
Although there are fantasy tropes and archetypes in Dragon’s Rook, there are few mythical creatures—aside from Dragons, there are bloodthirsty giant crows called Nar’ath, invented for this story, but expect no dwarves, elves, ogres, trolls, and the like. The author freely admits to the classical influences of Tolkien, Lewis, folklore, mythology, and the Bible, and built the world of Disson and Skarda on a mix of American and European geography, but weaves a story all his own.
We at Penworthy Press are proud to present this novel to the world. May it and its successors bring joy to their readers for many years to come.
Living one’s life in offense means never quite growing up.
No, it doesn’t mean one is more sensitive to the plight of others; it means one’s skin is so thin that others must always blunt the truth. They must be less honest or less than complete in their speech lest one take umbrage and skew the conversation by one’s own assumptions, judgments, or screeds.
Maturity—and true tolerance—listens to the opinions or arguments of others, and is not threatened by them. It does not need to shout down or shut down those with whom it disagrees. It does not need to be malicious toward them, nor does it need to smear them with altered facts, half-truths, or nasty names.
Maturity speaks and acts from a place of strength. It is confident. Its sense of right and wrong does not depend on the opinions of others, nor on their good will or ill will, nor on any narrative written out in the media, in popular culture, in activist groups, in church dogma, or in group-think, but assesses matters for itself and comes to its own conclusions.
It recognizes truth, even if that truth alters one’s previously-held beliefs.
Offense pushes onward against the tide of truth, and demands conformity with itself. It is akin to a child throwing a temper tantrum, refusing to acknowledge the truth it knows but is too proud and willful to admit, especially if that truth contradicts the narrative.
In this case, narrative is the accepted story—it is not necessarily reality. It is not concerned with facts or actual events, with provable data or the weight of evidence. It is the story in one’s own head, the story one wishes, expects, or assumes.
If maturity’s narrative is confronted with dissonant facts, with an alternate narrative, or with a conflicting truth, maturity weighs those differences, examines them, and then accepts or rejects them.
However, offense filters everything through emotion, and reacts with anger and arrogance, which can often disguise themselves as something noble. Yet continued anger, scolding, snubs, smears, demands, dishonesty, and haughtiness push for conformity—from others, not from oneself.
They also reveal the stunted growth, the blindness, the egocentricity, the blunted thinking of the one choosing to live in offense.
There are also groups which stir up and depend on the feelings of offense carried by their adherents. These groups are varied in nature—political, religious, cultural, sexual—and they operate much the same way as offended individuals do, but often with greater consequences. Anyone who dissents or offers an alternative is in danger of a damaged reputation, of difficulties at work or in the marketplace. That’s the least threat. The greatest threat is to self or loved ones because one does not conform.
Offense, therefore, encourages dishonesty. It thrives on anger, foments strife, and places itself as supreme judge. It brooks no argument—no matter how reasoned, truthful, or sound it may be—and is shrill in its agenda.
Maturity, however, will present its case but not push it. It will set boundaries and honor them. It will not be ashamed of its heritage, its faith, its culture, it political views, but will respect the differences of others, even if it cannot agree with them.
Maturity does what is right even if those actions are misunderstood, misrepresented, or misjudged. Even if people are offended. Because maturity is not ruled by immaturity.
It takes the long view, and considers the future consequences of its current actions. It knows it will be validated in the long run, perhaps after the current kerfuffle is long forgotten. And yet it does what it believes is right, even if it will not be the recipient of any good that might come of its actions.
Maturity is not so short-sighted that it lives only in the untempered, ill-informed emotions of the moment.
Maturity is not controlled by the fomented emotions of those who exalt the activist but denigrate the statesman. Due to speeches, marches, and “awareness” campaigns, the former is often credited with creating change, while the latter actually creates change by leadership despite opposition, threat, or lack of fanfare. One drums up support; the other earns respect. One is strident; the other may not even need to raise his voice.
There are advocates who are sometimes labeled activists, but they are most often for something rather than against something else: for aiding battered women, for increasing literacy, for feeding the homeless. The terms they use tend toward the positive, and they are less likely to be militant in their approach, although the lack of militance does not mean any lack of strength in their belief or actions. The difference lies in their lack of reliance on offense in order to garner support for or awareness of their cause.
Borrowing from one of my eldest niece’s favorite shows, “Green Lantern“, episode 2: “We know what you’re fighting against, kid, but what are you fighting for?”
Maturity is a process. It begins with recognizing not only one’s goals but also one’s limits, one’s need to learn and grow. Maturity exhibits as much frailty as any other human state, but it also extends patience to itself and to others. It may experience frustration, anger, even offense, but none of those are its constant state or its usual response. It is not ruled by negative emotions, nor by naïve, la-la-la optimism, even if it experiences them from time to time. In general, maturity is measured, pragmatic, and wise.
In the end, offense, being self-centered, cannot truly love. It cannot see beyond itself, its own cause, its own emotions, its own narrative. It loves only those with whom it agrees.
However, maturity realizes love—that thing so touted by a certain generation several decades past—is more action than emotion. It is a messy reality, not a hazy ideal, and true love reaches out even to its enemies.
If I speak in the tongues[a] of men or of angels, but do not have love, I am only a resounding gong or a clanging cymbal. 2 If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but do not have love, I am nothing. 3 If I give all I possess to the poor and give over my body to hardship that I may boast,[b] but do not have love, I gain nothing.
4 Love is patient, love is kind. It does not envy, it does not boast, it is not proud. 5 It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. 6 Love does not delight in evil but rejoices with the truth. 7 It always protects, always trusts, always hopes, always perseveres.
8 Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away. 9 For we know in part and we prophesy in part, 10 but when completeness comes, what is in part disappears. 11 When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put the ways of childhood behind me. 12 For now we see only a reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known.
13 And now these three remain: faith, hope and love. But the greatest of these is love.
I didn’t know there was any past kerfuffle over the Nobel committee’s tendency to be Euro-centric in its selections for the literary prize, but I don’t mind getting to know about excellent writers outside my own country.
(K)eep in mind that while foreign translations from most literary writers can be hard to come by, there really isn’t reason to complain about Nobel winners being inaccessible. After all, the vast majority of winners since the prize’s debut in 1901 had written in English.
What’s more, awarding the honor to little-known writers — at least, from an English-reader’s perspective — can help introduce authors to a wider audience. Shortly after Jelinek won the prize in 2004, the American distributor of her book The Piano Teacher ran out of copies because demand was so unusually high. That was famously one of the goals of the Swedish Academy’s previous Permanent Secretary, Horace Engdahl, who once responded to criticism saying, “The purpose of the prize is to make them famous, not to tap them when they are famous.”
That prospect has already excited fans of Modiano’s in France. Anne Ghisoli, the director of the Parisian bookstore Librairie Gallimard, told the Times she had long been a Modiano fan, “but this prize will help raise the global profile of one of our consummate writers.”
Time has speeded up since then and moves forward in fits and starts–explaining the difference between the towering literary edifices of the past, with their cathedral-like architectures, and the disjointed and fragmented works of today. From this point of view, my own generation is a transitional one, and I would be curious to know how the next generations, born with the Internet, mobile phones, e-mails and tweets, will express through literature this world in which everyone is permanently ‘connected’ and where ‘social networks’ are eating into that part of intimacy and secrecy that was still our own domain until quite recently–the secrecy that gave depth to individuals and could become a major theme in a novel. But I will remain optimistic about the future of literature and I am convinced that the writers of the future will safeguard the succession just as every generation has done since Homer.
I can identify with that need to put up a shield against the noise and the constant connection that eats at the soul.
Although I won a few prizes for speech-giving while in school, I dislike standing before crowds because my hands and voice shake and my thoughts scatter. Modiano, too, expresses his discomfort:
Calling to mind the way school lessons distinguish between the written and the oral, a novelist has more talent for written than oral assignments. He is accustomed to keeping quiet, and if he wants to imbibe an atmosphere, he must blend in with the crowd. He listens to conversations without appearing to, and if he steps in it is always in order to ask some discreet questions so as to improve his understanding of the women and men around him. His speech is hesitant because he is used to crossing out his words. It is true that after several redrafts, his style may be crystal clear. But when he takes the floor, he no longer has any means at his disposal to correct his stumbling speech.
Ah, yes. The need to constantly edit and revise. That explains my current profession.
Gustave Flaubert, a 19th-century French writer whose work ethic and precision with words one might well admire and imitate, even if his personal activities were best left behind the curtain, once wrote, “The art of writing is the art of discovering what you believe.”
And, I might add, it is in the act of writing that you realize not only do you have something to say, it is worth saying.
I also belong to a generation in which children were seen and not heard except on certain rare occasions and only after asking permission. But no one ever listened and people would often talk across them. That explains the difficulty that some of us have when speaking – sometimes hesitant, sometimes too fast as if we expect to be interrupted at any moment. This is perhaps why the desire to write came over me, like so many others, at the end of childhood. You hope that the adults will read what you write. That way, they will have to listen to you without interrupting and they will jolly well know what it is you have on your chest.
Listening — truly listening — is a great gift.
We may not understand all we hear, we may not agree with all we hear, but if we listen, we will learn, we will build bridges, we will encourage.
I was a child whose early, stumbling, terrible writings were listened to with patience and encouraged by adults. It was my peers who made me mute. They mocked, they misunderstood, they shrugged. Without the listening ears of a few grownups I respected and loved, I might not be a writer today.
Akin to truly listening is truly reading. There are few things more encouraging to a writer than knowing his words are being read. And not just read. Loved.
The announcement of this award seemed unreal to me and I was eager to know why you chose me. On that day I do not think I had ever been more acutely aware of how blind a novelist is when it comes to his own books, and how much more the readers know about what he has written than he does. A novelist can never be his own reader, except when he is ridding his manuscript of syntax errors, repetitions or the occasional superfluous paragraph. He only has a partial and confused impression of his books, like a painter creating a fresco on the ceiling, lying flat on a scaffold and working on the details, too close up, with no vision of the work as a whole…
So yes, the reader knows more about a book than the author himself. Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place. But for such harmony to exist between the author and his reader, it is important never to overextend the reader – in the sense that we talk about singers overextending their voice – but to coax him imperceptibly, leaving enough space for the book to permeate him little by little, by means of an art resembling acupuncture, in which the needle merely has to be inserted in exactly the right spot to release the flow in the nervous system.
A certain short story comes to mind, one in which I purposely included certain themes but in which readers found other connections, better connections, than I intended. That was, I think, the first time I realized that a writer and a reader encounter different stories, though the words are the same.
The rest of Modiano’s excellent speech is dense with historical and literary references, and is literature itself. I highly recommend it to every writer, and to every reader who wonders where writers find their stories.
Last month, due in part to the American holiday of Thanksgiving, I visited my old hometown, stayed with one parent but met often with the other, and attended a few services at Mom’s (once “our”) church, and was struck by the truth behind the old saying, “You can’t go home again.”
Although I was glad to be there and see people I knew, I didn’t call nearby friends or arrange to see them, nor did I drive by my old house or former workplace. The old life didn’t cross my mind, at least not long enough to dwell on or even matter. Nothing tugged at me.
Except, very soon after my arrival, a desire to return home.
Not to my old house, but to where I live now.
There was nothing wrong. There was no family argument or problem, no falling-out with friends; I just didn’t feel at home. Not anymore.
It is a strange state of being and state of mind that one is home yet not home, as if one has dropped into a surreal story and must find the way out of an Alice in Wonderland maze and back to reality.
I am a far different person than I was when I lived in that town, went to that church, spoke with my parents every week. The beliefs I once held as truth have shifted, perhaps even fallen away, so that only core truths remain. Life has a way of shaking the pan, dividing gravel from gold, helping one to clearly see the difference.
Those still surrounded by gravel may think the gold-seekers are off the mark, mislead, gone astray, so they try to warn them and hem them in again in safe places, in the grey cocoon of what’s humanly possible, of what’s comfortable and can be controlled, but they miss what the gold-seekers see — that glint of something more.
For we are strangers before thee, and sojourners, as all our fathers were: our days on the earth are as a shadow, and there is no abiding. (1 Chronicles 29:15, ASV)
When it comes to the events in Ferguson, Missouri, I’m not interested in being stirred up or pooh-poohed, in being lectured or being scolded, in being told what to think or feel or be or do.
I worked many years with youth and families of various ethnicities, and found that the vitriol coming at me — a person of European and Native American descent — was much more aggressive and bitter than I could have ever expected. All manner of prejudices and evil-doings were assigned to me by people who didn’t know me, but who accused me, verbally abused me, and called some creative names because I had to discipline their children or make judgement calls in disputes among their children.
I can’t recall the number of times I was told that only white people can be prejudiced. The irony of that statement never seemed to strike my accusers.
For me, race was never an issue. I looked on everyone as one race — the human race — and all capable of failure and folly. Right was right, wrong was wrong, and iffy needed some finesse. Sometimes wrongs were corrected, but many times wrongs were allowed to continue because someone might be or currently was offended. Offense and fear prevented good from being done.
Offense, anger, fear, and pride are burdens too heavy for me to carry. They hobble my steps, bow my back, and rob my vision. I may not be able to solve the ills of the world, nor may I be able to make my voice heard above the shouting, but I can shed my own blighted thinking, skewed perspective, and shackled living.
If you’re a believer of XYZ faith, and you want to preach a sermon, find a pulpit and do so.
If you’re a writer of XYZ faith, tell a story.
Let your faith inform your story if you’d like, and let there be characters who practice that faith, but — please — don’t make folks of other beliefs into caricatures or idiots or villains simply because they believe differently.
And avoid proselytizing. Don’t lure readers with a promise of a good yarn, but then turn the tables on them and present a sermon instead.
They won’t praise you. They’ll distrust you.
There’s not much more to be said, I thought at the time, and that post sums up my thoughts.
Since then, however, this has been kicking around in the back of my mind, like a restless kid shuffling back and forth and playing kickball with rocks because his friends haven’t shown up yet on the playground.
I am a Christian. I am not ashamed of that, nor do I hide it.
Yet, due to other folks’ experience with people sporting the “Christian” label, I am sometimes hesitant to use the word: 1) Will they shut down and refuse to speak with me? 2) Will all their prejudices or poor encounters come rushing to the fore, creating a boundary that doesn’t need to exist? 3) Will they assume that anything and everything I write is a sermon? And do they expect me to start sermonizing right now? 4) What do they think a Christian is? An ignorant backwoods hick who believes in fairy tales? A self-righteous loudmouth? A corrupt individual who uses the gloss of religion to hide his misdeeds? A hypocrite? A prim prude who thinks she’s perfect? 5) Will everything I do or say be measured by their assumptions or misperceptions of what a Christian is, and therefore they will obstruct or impede my endeavors because they’re already predisposed to dislike or misjudge me?
But despite my hesitation — and all those questions zooming through my mind — I declared myself a Christian to a couple fellow writers who are of different mind, and their stories reflect those beliefs and questions, just as my stories reflect mine.
The conversation came about because one writer said she was considering modeling a shady and powerful organization after Christianity and/or the Catholic Church (I forget which precisely — the conversation occurred a few weeks ago). I asked her why, but she really wasn’t sure yet on some of her world-building. Knowing she is an atheist who has had poor experience with some bewilderingly clueless Christians, I cautioned her against turning a religion into a villain simply to jab at its adherents. After all, it’s not original, and it makes her story snarky, ugly-minded, and not the interesting, darkly funny, unusual urban fantasy that we’ve been reading in our writers meetings.
But, let’s be honest, we Christians do ourselves no favors when we puff ourselves up and expect everyone else to operate according to our (flawed) parameters. We do not reflect well on Christ when we flaunt our Bibles but misbehave in public. Or when we writers try to hook readers with the promise of an international spy thriller but we pull the ol’ switcheroo, story suddenly becomes sermon, and everyone is “saved” by the end of the book. Or when only the Christian characters are wise and good and noble. Or when the Christian characters can do no wrong and always make the right decisions.
Wow, are Christian characters often the least interesting ones. And, wow, are the other characters often cut-out caricatures — insulting, shallow versions of reality so we can play the puppet-master and make everything come out just the way we’d like it.
Oh, and God thinks like we do.
It’s the same thing that nonbelieving writers sometimes do: Make God in their own image — or their version of what they think He’s like — and then turn believers into bigoted, wishy-washy, whiny, or arrogant cartoons. *
Such storytelling serves no one but the readers who already agree with XYZ stance. If those readers are your intended audience, then your field is narrow, because it excludes the broader audience of eclectic readers who are willing to entertain good writing and excellent storytelling from various points of view.
I am such a one, and have read books written from worldviews far different from my own, simply because they were well-written stories that spoke to humanity and opened the door to perspectives I had not yet considered.
And yet, to be perfectly frank, I’m not interested in reading books that denigrate rather than entertain. Show people of faith in an honest, compassionate way, and even if they’re the bad guys or just average, flawed human beings, I’ll stick around. Show them as cartoons, as buffoons or criminals simply because of that faithand not because they made bad choices or need help or have other issues, then I’ll bail. I don’t need to feed my mind and spirit on someone else’s bad attitude, ugly-minded agenda, or personal vendetta. **
Whether we realize it or admit it, whether we are theists or atheists, we write what we know — and what we believe.
As a fellow writer and reader, I just ask that we consider how we present other points of view, and let’s not rely on just our experiences or our own agendas, but look past them to look through other eyes.
And then, when we sit down to write, be honest, be compassionate, be real.
We just might find our own perspective has changed.
*Sermons and agendas do not belong only to Christians or people of other faiths. There are political and religious themes in television shows, movies, and novels. For a specific example, I could link to various news stories and blog posts about James Cameron’s film, Avatar, which he admitted is propaganda. However, a Wikipedia article, Themes in Avatar, is a good one-stop source.
**Wesboro Baptist Church, Al Qaeda, ISIS, and others of their ilk use their religious beliefs as a cover, as an excuse to misbehave. That’s a conversation for another time.
Friday, I took a walk, a reward to myself for completing a freelance project, and a chance to be away from the computer and revel in the sunlight. (Aaaaaah! My eyes! My eyes!) When I returned home, however, I didn’t want to return to work. If there is an autumn equivalent of spring fever, I have it.
There’s not much story there, other than the old one: brain takes a walk while the body struggles to complete tasks by itself. Not very literary, eh?
How ’bout this: Little kids know a good story when they meet one.
A few days ago, four-year-old Sunny ran through the house, narrating as she went: “…and then there’s a tree…Oh, no! Watch out!…but Sky swoops in…”
She complicated her play by introducing obstacles and problems, but also enabled her pretend self and other characters to overcome those blocks by imbuing herself and her imaginary friends with creative skills or tools to deal with whatever occurred.
Last night, while re-watching a Korean television series that a friend had not yet seen, I saw specific points where — if the characters had been wiser, had been less ruled by fear or grief or anger or greed, had been quicker or stronger or less driven, the story would have ended much sooner than it does.
I was frustrated by the ugly motives that led to unnecessary tragedy, but acknowledged that — without them — the rest of the story would not only lose its power but its purpose. An intriguing, funny, poignant, suspenseful series would not exist.
To borrow from another post on this blog, stories are interesting because bad things happen.
Or, to borrow from the Chinese, “May you live in interesting times.” It’s a curse, not a blessing, the most interesting times being those with wars and natural disasters. Kinda the ancient Asian version of “Go to hell.”
I’m close to wrapping up edits on a client’s fictionalized autobiography…although I like this book, the ending is thin…
I headed downstairs this afternoon to fill my cup with fresh, hot tea, and that’s when I saw the problem: There’s a positive change in the lead character’s life, but there’s no transcendence.
Sure, the guy overcomes a crappy childhood, a weak and aimless youth, and a bout with addiction and alcoholism, and he’s definitely in a better place now, but–
And why did he finally decide that addiction was not the life for him?
Even in true-to-life stories, characters need a reason, a motive, and then action to back it up.
Otherwise, it’s not just the editor who’s falling asleep, but the audience is, too.
A horror story is playing out in the Middle East — not only there, but around the world — as adherents to a violent ideology behead, crucify, rape, torture, hang, beat, and exile anyone weaker or who doesn’t believe the same way or to the same extent as they. Similar atrocities have occurred throughout history, perpetrated by different groups in different places. Mankind conjures insane evil against itself and calls it good and justified.
And yet from this darkness arises life-changing, life-affirming stories.
One such is the recent travails of Miriam Ibrahim, a Sudanese woman accused of apostasy and adultery, and imprisoned in chains, because she married a Christian man, an American citizen. She even gave birth while in chains. She and her family were rescued and brought to the US in summer 2014.
Another such story can be read in The Hiding Place by Corrie ten Boom, which recently became a banned book in some libraries. It details how the ten Boom family hid Jews from the Nazis, how Corrie endured and survived a concentration camp, and how faith sustained her.
Powerful stories will be born of the current horror, as well. Tales will be told of pointless tragedy and humbling self-sacrifice, crushing dominance and inexplicable mercy, breath-stealing loss and unexpected gifts. Violence so vile it can scarce be imagined, let alone described, and yet compassion so kind one cannot help but weep.
Stories need something to overcome, and they need a reason to overcome it.
A candle is lost in the sunlight, but shines like a star in the dark.
In Part 1 of “Telling Our Stories”, an adaptation of a presentation given to a female group of non-writers, I discussed editing, faith, and how and why God is a storyteller. In this half, I discuss why we need to tell our stories, and then I’ll share a bit of my own.
My favorite Bible stories teach and encourage me:
Mary, the mother of Jesus
Elizabeth, her wise cousin
David and Goliath
Elijah and Elisha
the Acts of the Apostles
and many, many more.
Jesus told parables involving women (the lost coin, the ten virgins), and there are several stories in the Gospels of His interaction with women:
woman taken in adultery
woman at the well
woman with the issue of blood
Mary at the wedding in Cana
the Syro-Phoenician woman
the women among His followers
The Old Testament is also full of strong female role-models: Esther and Ruth, of course, as well as Deborah the judge and Rahab who—even though she was a prostitute—came to trust God and was an ancestor of Jesus. The stories of Abigail and other women not only captured my imagination, but planted truths in my soul that helped me grow in my faith, even as a child.
God invites us to be storytellers.
Let the redeemed of the Lord say so,
Whom He has redeemed from the hand of the enemy
Psalm 107:2 (NKJV)
Let the redeemed of the Lord tell their story—
those he redeemed from the hand of the foe
Psalm 107:2 (NIV)
Hear, O Israel: The Lord our God, the Lord is one! 5 You shall love the Lord your God with all your heart, with all your soul, and with all your strength. And these words which I command you today shall be in your heart. You shall teach them diligently to your children, and shall talk of them when you sit in your house, when you walk by the way, when you lie down, and when you rise up. Deuteronomy 6:4-6 (NKJV)
But you must continue in the things which you have learned and been assured of, knowing from whom you have learned them, 15 and that from childhood you have known the Holy Scriptures, which are able to make you wise for salvation through faith which is in Christ Jesus. 2 Timothy 3:14-15 (NKJV)
So, why don’t we share our stories?
Pride? Fear? Distrust?
Perhaps we think people will judge us or won’t care.
Maybe we don’t know that our stories matter.
Maybe our stories are difficult—not just difficult to hear, but difficult to tell.
If so, here’s a secret:
Stories are only interesting if something bad happens.
If the hero never faces a challenge, never has an obstacle to overcome or an enemy to defeat, what’s the point? If Goliath was a wimpy little fella, why tell the story?
If it were a movie, people would fall asleep in the theater. If a book, it would never be read.
I’m not saying we should be happy when trouble enters our lives, but we can recognize it for what it is: another twist in the plot, another event in the story of our lives.
We’ll tell others about it later—how we faced down death, came back from the brink of financial disaster, survived homelessness or alcoholism or physical abuse. Stories are bridges between hopelessness and purpose, failure and perseverance, darkness and light.
Therefore, having been justified by faith, we have peace with God through our Lord Jesus Christ, through whom also we have access by faith into this grace in which we stand, and rejoice in hope of the glory of God. And not only that, but we also glory in tribulations, knowing that tribulation produces perseverance; and perseverance, character; and character, hope. Now hope does not disappoint, because the love of God has been poured out in our hearts by the Holy Spirit who was given to us. Romans 5:1-5 (NKJV)
THAT’s why we tell our story.
I always wanted to be brave, but knew I was a coward.
I loved to read stories of heroes from history, heroes of the faith, everyday people who were strong and stood for what was right.
However, I wouldn’t tell the truth when I should, out of fear of the consequences.
In childhood and even into my twenties, I attended churches with intensely evangelistic environments that could be compared to high-pressure sales: no one was getting away without hearing our pitch.
I hid from that by—ironically enough—carrying my Bible on top of all my schoolbooks, hoping other kids would ask me about it without me having to approach them first.
I’d stand up for my friends, but mock my faith, my overweight appearance, my bookish ways, and I’d back down and hide.
At age four, a huge fear entered my life, and with it came nightmares.
In the early 70s, my cousin DJ and I witnessed a fatal accident while playing in our grandparents’ front yard. We’d wanted to play in the ditch, but the grownups wouldn’t let us because 1) it was muddy, and 2) it was outside the fence.
We heard a screeching crash, and looked up to see what looked like one car with two back ends. A drunk driver in a Thunderbird had rounded the corner and veered into the inside lane, crashing head-on into a family’s station wagon.
He was thrown into a blackberry bramble on the far side of the road, and survived with only scratches and a broken collar bone. As I recall, only the father and one child survived in the station wagon.
In the confusion to help the victims, someone handed me a blanket, and I did what everyone else was doing, and toddled out to the ditch so I could give one of the rescuers a blanket. Recall, I was only four, and this was before the days of 911 and rescue vehicles being coordinated in their response times.
I reached the ditch, and saw my father straddling a body with no face. Whenever he would push down on the chest, air bubbles formed in the blood where the face should have been. I held out the blanket. He reached for it, and then he realized who was standing there. He yelled at me to get away, and I thought he was angry with me. Only later did I understand he was trying to protect me.
From that day onward, I had a fear of accidents, of wearing my seatbelt or not wearing it, of being cut by glass or being thrown out the window or hitting face-first against the seat in front of me. Riding in cars was stressful for a good long while.
Much later, in late teens and early twenties, I lived in a long dark tunnel of depression. The first time, I was suicidal. The second depression was shorter, I recognized it for what it was, and came out of it stronger than before.
I’ve survived automobile accidents, workplace bullies, foolish choices, church gossip, and even my own family.
Shortly before my twelfth birthday, my maternal grandfather and my uncle resorted to violence to settle a problem so minor it could have been resolved with a conversation. It didn’t even bear mentioning.
And yet they held a knife to my eight-year-old brother’s throat, and guns to our heads.
They threatened to kill our parents if anyone came to get us. They disowned my mother, and said many other things best forgotten. Peace I cannot describe came over me, and I knew God was in charge. We were going to come out of there alive.
There’s more to that story, but I’ll tell you later.
In my twenties, a suicidal woman named Carol pointed a gun at me and my friend, intending to kill us and then herself. I didn’t move, didn’t speak, but just continued leaning against the window A/C unit and sent up a silent prayer. I didn’t know what else to do. Again, I was strangely calm in that moment. I was ready to die.
Carol put down her gun and wept. Many nights later, she was drunk and met me in the church parking lot, but wouldn’t look me in the eyes. She said the reason she couldn’t pull the trigger the first night, and why she couldn’t look at me now, was because of the person she saw with me, the person looking out of my eyes. Not me. Someone else was looking at her. She wanted the love she saw, but felt unworthy of it. Could I help her?
In my thirties, I hit an icy patch on the road and rolled my truck. The man who helped me get out expected to find a dead body. Instead, I blacked out only briefly. Although I had a concussion and strained muscles, I was cognizant and fully able to move.
When I look back on the events of my life—the miracles, the healings, the long troubles that seemed never to end—I can see the story God has been telling.
But only when I look back. It’s hard in the moment to see the story.
Stories are powerful.
They convey truth often better than a lecture, an advice column, or even a sermon.
And how are sermons illustrated? By scriptures and by stories.
Jesus used stories to point to the kingdom of heaven, to show people how to live, to show how much God loves us. However, to do so, He also showed us ourselves in our imperfections. In the parables of Jesus, people make mistakes or wrong decisions:
a rebellious son squanders his inheritance
a man forgiven his debt refuses to forgive someone else
bridesmaids arrive unprepared
wedding guests refuse to accept a generous invitation
For centuries, histories were kept alive by storytelling. Now we write history in books.
Strong stories often contain Biblical truths or concepts,
although they may not outright preach them.
I reiterate, stories are powerful.
People who might never pick up a Bible will pick up a novel.
Stories can reveal truth in ways that will capture the minds and hearts of readers who otherwise might never come into a church to hear the sermons.
In Him was life, and the life was the light of men. 5 And the light shines in the darkness, and the darkness did not [overcome] it. John 1:4-5 (NKJV)
Stories spark the imagination.
They ask questions and rouse curiosity. They engage the mind.
Remember the disciples asking Jesus what His parables meant? The disciples were interacting with the stories. They were engaged.
Stories are why novels, role-playing games, stage plays, television shows, and movies are so influential in our culture.
To further answer the question, “Why stories?” read Dan Allender’s excellent book, To Be Told. In it, he shows how God uses our stories to guide, heal, and direct us, and to help us minster to others.
Remember when I said there was more to the story involving my grandparents and my uncle?
The police took my brother and me away from the house in the wee hours of the morning. The grownups said everything was my fault.
My parents considered pressing charges, or at least getting a restraining order, but because of what my grandparents and uncle told the police, I was afraid they would lie in court. I didn’t want to have anything to do with them. I just wanted everything to quiet down and be normal again.
About a year or so later, my grandparents announced that my grandfather’s heart was failing, and begged to come see us. I tried to be cool about it, but I couldn’t wait for them to leave.
A couple years after that, near Thanksgiving, my grandfather died. Mom mourned him, but I couldn’t understand. Yeah, he was her father, but he’d been abusive to her, and he’d tried to kill me and my brother. I was relieved he was dead.
This August, nearly thirty years later, Mom and I traveled out west to see my grandmother and uncle. I didn’t want to, but I knew it mattered to Mom, and we’d had a trip to the West Coast planned for several years.
I’d forgiven my grandmother and uncle a long, long time ago. Yet, rather than accept the responsibility for their actions, they continued to blame me.
But when we walked into the rehab center, Grandma was sitting in her wheelchair near the door, and the first thing she said to me, tears running down her face, was “I’m sorry. I’m so sorry.” No blame, no lies, just repentance.
Life is messy.
It’s also full of blessing.
Life is hard, but God is good.
And that’s my story.
Think about the word destroy. Do you know what it is? De-story. Destroy. Destory. You see. And restore. That’s re-story. Do you know that only two things have been proven to help survivors of the Holocaust? Massage is one. Telling their story is another. Being touched and touching. Telling your story is touching. It sets you free. ― Francesca Lia Block
I know the truth of these words. Oh, the stories I could tell! And you—what is your story?
Our stories must be told. Not necessarily the fiction, the things we imagine, but the truth, the things that happened to us, the things we did.
Below is the first in a series of blog posts addressing the need to tell those stories. It was originally conceived as a presentation to a group of non-writers, then was abridged as a talk to a small Bible study group.
Although I originally addressed Christians, much of the material applies to fellow writers and to people in all walks of life, especially those who have dealt with tragedies, abuses, things they can’t find the words or even the will to reveal to others. Perhaps something written here will inspire them to open their mouths or take up their pens and tell their stories.
Since we came to know Christ, storytelling has been—or should be—a natural part of our lives. When we minister to others, when we give an answer for the hope that is in us (1 Peter 3:15-16), we have opportunity to tell our stories of what God has done for us.
I’ll begin by discussing my work as an editor, segue into the importance of storytelling in the Bible, and then how we are storytellers in our everyday lives.
As an editor, my job is to help authors shape and correct their work.
It’s not my job to write the story for them, but to help them present their best work.
Whether they’re freelance clients or authors under contract with a publisher, the most difficult writers to work with are those who don’t see their need for change. They don’t think they need to improve anything. They’ve fallen into the trap of pride.
They just want someone to tell them how good they are, to approve of whatever they write, and to require nothing else from them—not revising, no researching, nothing but collecting the royalty checks.
Problem is, if there’s not a quality product for sale, then those royalty checks will be rather thin.
We’re all imperfect humans. We all have room for improvement.
Even editors are not infallible or all-powerful. There comes a point when I have to step back and let the writer have his way. After all, it’s not my story. I’ll lead, I’ll guide, but I won’t write the book.
My favorite writers to work with are those who are humble and teachable. They don’t have false humility, an insidious form of pride. They know they have a good story. They know they can write, but they’re always striving to be better, to improve their craft.
They want to present their best work to the world. If they’re Christians, they also want to glorify God above all else.
Whether therefore ye eat, or drink, or whatsoever ye do, do all to the glory of God
I Corinthians 10:31 (KJV)
Before I can begin editing a manuscript, there must first be words on the page.
Sometimes, writers can’t create because they’re too concerned with perfection. The story doesn’t arrive fully formed, with the characters alive, the sentences in the correct order, the words flowing with a beautiful cadence—and so the writer stalls.
The process isn’t neat and orderly. It’s messy and requires hard work. Therefore, the writer is blocked. He can’t move forward. He spends his time perfecting the words he’s already written, polishing them until they shine, but he writes little or nothing new.
How many of us are like that writer?
How many of us aren’t really living forward? We spend our time looking backward at the past. We play the what-if game, the if-only game, but don’t expand our horizons or accept new challenges, because doing so is hard—especially when we fail.
Some view failure as the end. Some view it as only the beginning—a lesson learned on the way to a greater goal.
Some writers lose contest after contest before they win anything. Some send out manuscripts over and over only to be rejected time and time again before someone sees the potential in the story and publishes it. Those writers never give up despite failure. They have a greater goal in mind, and they are perfecting their writing each time they write a new story or revise an old one.
Do we defeat ourselves before we even begin?
How can God shape our stories when we give Him so little to work with?
Take movies, for example.
The version we see in theaters is the theatrical release.
Some movies have another version—the director’s cut.
The director’s vision for the film may differ greatly from what is seen in theaters. It may have more scenes or even alternate scenes, and contain details that expand or enhance the story. Therefore, it is usually longer than the theatrical release.
In our everyday lives, how many of us only want the theatrical release?
We want to skip to the good parts, the interesting and action-packed parts, and forget the rest—the boring everyday stuff, the sad or tragic scenes?
But life is the director’s cut, and we have to live every moment of it.
God is a storyteller.
The first book every printed on a press, His has outsold all others.
The Bible is full of stories. Jesus used them to illustrate the Gospel. Recall this phrase: “The kingdom of heaven is like…”? It precedes several of His parables, a sacred “once upon a time”.
Why did He tell these stories?
That We May Believe
And truly Jesus did many other signs in the presence of His disciples, which are not written in this book; but these are written that you may believe that Jesus is the Christ, the Son of God, and that believing you may have life in His name.
John 20:30-31 (New King James Version)
And there are also many other things that Jesus did, which if they were written one by one, I suppose that even the world itself could not contain the books that would be written. Amen.
John 21:25 (NKJV)
Below is a re-blog of a post over on Adventures in Fiction, a blog by Keanan Brand. He discusses feedback he recently received for a story in progress, and decides what he wants more: applause or participation?
Wake from death and return to life.
Tade kuu mushi mo sukizuki.
There are even bugs who eat knotweed.
(To each his own.)
I’ve been developing a short fantasy set in Japan, in an era and a culture about which I know little. That means delving into reading about all manner of topics: honorifics, architecture, food, names, proverbs. I’m tempted to fill the story with Japanese terminology, but I don’t know what’s true to the period and what’s modern. And tossing in every word I learn would overwhelm the plot, and distract or annoy the reader, so I’m backing off, using the literary equivalent of a pinch of salt. A taste, not a stomachful.
An interesting dish — but who wants to eat it?
As with everything I write, I wonder, “Who’d want to read this? Am I writing only for myself? Am I okay with that?”
My reading at the most recent writers meeting was an attempt to answer those questions. I brought my first two thousand words of the Japanese fantasy and invited the other members to tear into it. The story needs to be solid, because it will be competing against other and far better writers, and I want to do my best so there are no regrets if I lose. No excuses.
The group followed along as I read but made few notes on their copies of the pages, which was unexpected. My own copy was littered with notes before the meeting ended. The responses were favorable, the speculations thick and fast, the suggestions and critiques constructive.
It was the most — what’s the word? —refreshingcritique session since, well, never.
In a prior group, my speculative stories were met with negativity, so I stopped sharing, stopped asking for feedback. The writer went into hibernation, and only the editor showed up for meetings.
At first, I believed the bad press: “Your stories are too difficult to understand” or “You’re not connecting with your audience.” While that may have been partly true, I came to realize that the audience — certain members of it — were never going to connect. Their understanding of and approach to reading left little room for deviations from their personal expectations: A story must look like this and not that.
With realization came renewed confidence. Nah, the audience didn’t change, but it stopped mattering. I could predict which of my stories they’d like — the more conventional ones — and which would make their eyes glaze and their mouths purse.
A new state and two writers groups later, I’ve landed with a mixed flock of hatchlings, most still in the nest, some just now recognizing their wings, some learning to fly. They’re fearless, though, sharing their earnest romances and troubled life stories, their awkward urban fantasies and sophisticated twisted fairy tales. They tell each other what they like and what they don’t understand, what’s not working and what piques their imagination.
The group works. I can’t explain it, but it works.
Maybe because the nasty black-hat villain Ego hasn’t arrived.
So I shared. They responded. It was good.
People have read my stories in publications, but it doesn’t necessarily occur to readers to contact authors and tell how the story affected them, how it stayed in their minds for days or roamed their dreams at night. How it made them cry, scream, laugh, think.
The response from my fellow writers the other night was like applause at a live play, accompanied by an honest but non-mean-spirited review.
I don’t need flattery or compliments or pats on the head.
As nice as it is, I don’t need applause.
What I crave? Capturing readers’ imaginations to such a degree that they fill in the details I didn’t describe. They journey alongside the characters, and talk to them, emote with them, live through them. The story matters so much to the readers they lose sleep to finish it. They argue with friends over why a character did this or said that. They can’t wait for the next story.