131. My Novel Is Now Available as a Paperback!

My typewriter monkeys and I are excited to announce that The Trials of Lance Eliot, my debut novel, is now available as a paperback!

(Well, I’m excited. My typewriter monkeys really don’t care.)

When I was a child, I wanted to write a book—a tangible, ink-and-paper novel that could sit on a bookshelf with The Hobbit and The Chronicles of Narnia and The Wind in the Willows. My novel was published a few months ago as an e-book for Nook and Kindle devices, but I really wanted to see it released as an old-fashioned book. Thanks to my publisher’s patience and expertise, The Trials of Lance Eliot has finally become a proper novel.

Many years ago, I decided to write a fantasy. I wanted the hero to be an average person who stumbled into another world, but I faced a perplexing challenge. How could the hero move from one world to another? I didn’t want him to blunder through a wardrobe or a looking-glass or something else that has already been done.

At last it occurred to me that magicians are always summoning things from one place to another. The Pevensie children are transported from their world into Narnia in C.S. Lewis’s Prince Caspian, and Aladdin invokes a couple of genies from who-knows-where in the Middle Eastern folk tale.

It made me wonder: What if the magician summoned the wrong person?

With that, more than six years ago, a story began that would grow into The Trials of Lance Eliot, the first chapter of The Eliot Papers.

In the novel, Lance Eliot, a timid college student, is snatched up by magic and thrown into another world by a mage who mistook him for Lancelot, the legendary knight of Camelot. Now stranded, Lance must embark upon journey to return home, meeting heroes and scoundrels (and possibly a dragon or two) along the way, and becoming—much to his own surprise—a hero.

For more than a quarter of my life, The Trials of Lance Eliot and The Eliot Papers have been my greatest passion as a writer. I’m extremely excited to share Lance’s story as an old-fashioned paperback, and I hope you’ll consider checking it out!

128. About Writing: The Hardest Lesson

A writer must write—and keep writing—for the right reasons.

That’s it.

That, dear reader, is the hardest lesson I’ve learned about writing.

When a story of mine was rejected not long ago, I was surprised at how upset I felt. What was wrong with it? How could the reviewer not recognize how much time, planning and effort I had poured into my work? Seriously, what was the problem?

After asking these questions, I asked two that mattered.

Why did I submit this story in the first place? Was it to benefit those who read it, or was it merely to impress an audience?

At this point in my deliberations, I removed my glasses, set them down carefully and gave my face a good smack with the palm of my hand.

There is a trap that lurks in the path of every writer, and I had fallen into it for the hundredth time.

My purpose as a writer isn’t to impress my readers, nor is it to puff up my sense of self-importance.

My purpose as a writer is to benefit my readers, and to enjoy writing.

Writing is fun. There’s nothing wrong with that! As any writer can testify, writing can be exhilarating, satisfying, cathartic or simply enjoyable.

Much more importantly, writing has incredible potential for good. Reflections and stories can amuse, teach, comfort, correct or inspire. Writers have the power to make their readers think, smile, laugh, learn or cry.

I sometimes forget these purposes, and write as a way of saying, “Look at me! Look at what I’ve done! Isn’t it great? Seriously, check it out—and while you’re at it, feel free to bask in my majesty.”

That’s not good. In fact, that’s deuced awful. It’s selfish and foolish and vain. It’s a trap!

Writing merely to impress an audience isn’t good, but it has one benefit—incentive for the writer. A desire for praise and popularity is a strong motivator! It’s easy to write for the wrong reasons, and dashed hard to write for the right ones.

Whatever your purpose as a writer, don’t lose sight of it. Remember why you write, and never forget two important facts.

It is not about you.

It is about everyone else.

Yes, these lessons have become kind of a motif on this blog. They’re important ones, honestly.

A Portrait of the Artist as a Performing Monkey

A Short Story

“Never send to know for whom the bell tolls; it tolls for thee,” muttered Gabriel Green, rummaging in his pocket for his cell phone.

“Gabe!” boomed the voice on the other end of the line. “Hello, hello, hello! This is your friendly neighborhood agent.”

“Good morning, Phil,” replied Gabriel, holding the phone several inches from his ear and looking around the café to see whether anyone else was bothered by the noise. “What do you want?”

“Vampires, Gabe, vampires!”

“If you’re looking for an introduction, I can’t help you,” said Gabriel, and sipped his coffee. “I don’t know any vampires.”

Raucous laughter rang from the phone’s speakers. “Ah, Gabe, you’re such a wit. No wonder you’re my favorite author. Are you working on a manuscript?”

“Yes, I’ve begun a novel—”

“Drop it and write me a book about vampires. Gabe, what was that noise? Did you choke?”

“That,” said Gabriel, “was the sound of your favorite author scoffing at you.”

“Vampires are hot right now,” said the voice on the phone. “We’ve got to build up your author cred. Vampires will do the trick—no publisher can resist a juicy vampire novel. You’re choking again, Gabe.”

“Scoffing,” corrected Gabriel. “Phil, explain to me exactly how a shoddy vampire novel will build up my literary credibility.”

“Your stuff is great, but it’s all niche,” said the voice on the phone, as though explaining to a toddler. “We’ve got to expand your platform. People read vampires. You write vampires. Bam! We’ve got magic. Anything you write about vampires will be a hit, or my name’s not Phil Lector.”

Gabe, realizing sips were no longer adequate, gulped his coffee. “Tell me, Phil. After writing this vampire novel, can I get back to my current manuscript?”

“Absolutely,” replied the voice on the phone.

“Fine,” said Gabriel, and swigged his coffee with the violent, jerking motion generally associated with men slugging vodka from small glasses. “You’ll get a vampire novel.”

“One teensy detail I forgot to mention,” said the voice on the phone. “I’ll need a chapter to show publishers as proof of concept. I want to see Chapter One of your novel on my desk by Tuesday morning.”

“Next Tuesday?”

“This Tuesday.”

Gabriel, who was swallowing the last of his coffee, choked.

“Don’t scoff at me, Gabe.”

“I was choking, Phil. Do you realize tomorrow is this Tuesday? I can’t write an entire chapter in one day.”

“Good luck,” said the voice on the phone, followed by a click ending the connection.

Ten minutes later, the proprietor of the café found Gabriel Green staring desolately into his coffee cup.

“You don’t look so good, pal,” he said. “Anything I can get for you?”

“Coffee,” rasped Gabriel. “Just leave the pot on the table.”

By evening, Gabriel Green had read seven encyclopedia articles about vampires, taken three walks in the park, drunk seventeen cups of coffee and written zero words. Deciding it was time for a break, he went to the kitchen to brew more coffee.

“I’m a performing monkey,” he told the coffeemaker.

The coffeemaker made no reply, except to gurgle softly as the coffee brewed.

“When my agent says, ‘Write a vampire story,’ I drench my pen in blood and write a vampire story. When my agent says, ‘Hold a book signing,’ I set up a table and hold a book signing. When my agent says, ‘Dance a polka,’ do you know what I do?”

The coffeemaker growled.

“That’s exactly right,” said Gabriel. “I dance a blasted polka. A performing monkey is exactly what I am. I need more coffee. Are you done?”

The coffeemaker, which was not done, growled again and hissed at him.

An impatient man would have raged at the appliance. Gabriel Green, being a man of mild temper, merely glowered at it until the coffee was ready.

Returning to his chair with the coffeepot, Gabriel sat down and tapped his desk with an irregular rhythm like the beating of a worn-out heart. A blank notebook page lay before him.

“Theirs not to make reply,” he mumbled. “Theirs not to reason why, theirs but to do and die. Into the valley of Death rode the six hundred.”

With that, he stopped tapping, picked up a pen and wrote It at the top of the page.

A minute passed, and the tapping resumed. Gabriel’s face was as empty as the page on the desk before him.

“It what?” he asked. “It was a dark and stormy night? Clichéd. It is well with my soul? Not particularly true tonight. It is a truth universally acknowledged—merciful God, no. Come on, Gabriel. What about it?”

Apart from the tapping, there was complete silence in Gabriel’s apartment. An ardent believer in creating the right mood for writing, he had switched off all the lights except the lamp over his desk. A moth dancing around the bulb sent a vast shadow swooping about the bedroom, but he failed to notice. His attention was riveted on two little letters.

It took three more cups of coffee, but Gabriel finally succeeded in picking up his pen and writing is.

“It is,” he said, and repeated the phrase several times. “What is it? What in the blazes is it?”

Gabriel pulled out another sheet of paper and doodled stick figures fighting with rapiers. The figure of a princess with a flowing gown watched the duel, clutching her blank face with stick hands. A blazing sun appeared over the scene. Hills sprang up in the background.

As he drew a knight riding to the rescue on a stick horse, Gabriel remembered the words It is and felt a fresh wave of panic.

“I’ve never had writer’s block,” he mused, crumpling his drawing and hurling it across the bedroom. “It was always a problem that affected other people and left me alone, like cancer or car accidents.”

The crumpled drawing ricocheted off the far wall and landed on the bed where it lay like a pale, pathetic, papery cabbage.

Gabriel sat back in his chair and rubbed his temples. “What’s wrong with me? Gabriel Green doesn’t get writer’s block. No real writer gets writer’s block. Do performing monkeys get writer’s block?”

An hour passed, and he returned to the kitchen to make another pot of coffee.

“Twenty-two cups,” he informed the coffeemaker. “A record.”

The page lay upon his desk with its two solitary words. They leaped out at Gabriel like an accusation as he sat down and picked up his pen. A cataract of words began to pour through his mind, but none of them completed the phrase he had begun.

An appropriate word occurred to him at last. He scribbled it, signed the page and went to bed.

Phil Lector came into his office on Tuesday morning to find a single notebook page in his inbox. Puzzled, he picked it up and read it.

It is impossible. Gabriel Green.


Author’s Note:

My grandfather told me that James Thurber, the famous humorist, once sat down to write something under pressure. He jotted down The and then stared at the paper for a long time, trying to think of more words to write. At last, unable to think of anything, he scribbled a curse word and went to bed.

Apart from Thurber’s influence, this story demonstrates my love of coffee, loathing of shoddy vampire fiction and discontent with the publishing industry, which too often values marketability over good writing.

Thanks for reading!

123. And Here We Go!

Not long ago I posed a question to the reader (or readers; I’ll be optimistic) of this blog: What needs to change?

I suggested some changes and received quite a lot of encouraging, helpful feedback. This post will explain briefly what’s changing and what isn’t.

The Turnspike Emails are officially discontinued. I love the concept, but I’m afraid I’ve failed to do it justice. Besides, Turnspike Emails are deuced hard to write.

By popular demand, book reviews are here to stay. I guess that means I’ll have to stop rereading old favorites and pick up something new. I’ve been meaning to read Life of Pi and The Hunger Games, and Brave New World has been gathering dust on my bookshelf since I picked it up from a yard sale a few weeks ago.

My typewriter monkeys and I will choose the next book for review using the same process we use to make all major decisions about this blog: writing each option on a slip of paper, taping the slips to darts and throwing the darts at a picture of Friedrich Nietzsche. Our final decision is determined by which dart comes closest to striking the exact center of Nietzsche’s mustache.

This blog’s standard varieties of posts—About Writing lectures, That Time I _____ anecdotes, reflections upon the Christian faith, commentaries upon video games, totally biased flawlessly objective top ten lists and posts about random topics—will continue, and Why [Insert Author Name] Is Awesome posts will become a regular feature.

I’ll also post creative writing occasionally. Unlike usual posts, these creative pieces won’t be published according to any schedule. They’ll be posted occasionally on Wednesdays. My monkeys and I make no definite commitments.

When I moved into my apartment last month, I was relieved to find out that my typewriter monkeys are considered residents; I don’t have to pay a pet fee. They’ve taken up residence in the hall closet, which they have converted into a base of operations for nocturnal raids upon the refrigerator. I’m thinking of buying a lock for the fridge to keep out the monkeys, or possibly rigging a car battery to run electrical current through the refrigerator handle. The first option is more economical, but the second option is strangely appealing.

Now to be serious. It’s not too late to offer advice, criticisms and suggestions for this blog! TMTF will continue to grow and change over time. We’re always open to new ideas.

My sincere thanks to the folks whose feedback and encouragement have helped shape this blog.

And here we go!

120. TMTF’s Future Is Yours to Shape!

Wait, which way to the future?

Stale is a nasty word. It makes me think of television shows or book series that have gone on too long, or even—oh, the horror!—packets of cheese crackers that have been opened and then forgotten in some obscure corner of the snack cupboard.

This blog has been up and running for more than a year, and I don’t want it ever to become stale. My typewriter monkeys and I are considering making some changes in direction for TMTF, and today’s post is to give you—yes, dear reader, you—an opportunity to shape this blog’s future!

I’m thinking of discontinuing the Turnspike Emails. These posts are TMTF’s version of The Screwtape Letters, a book by C.S. Lewis that explores Christian ideas from a demon’s perspective. I’ve used the Turnspike Emails to reflect upon (and sometimes to vent about) various spiritual issues. However, I’m not satisfied with the Turnspike Emails. I don’t feel like I’m doing C.S. Lewis’s excellent idea justice.

Shall I stop writing the Turnspike Emails?

I’m also considering discontinuing book reviews. While they’re fun to write, I haven’t been consistent enough in posting them to justify their existence as a regular feature of this blog.

Shall I keep the book reviews or stop writing them?

I intend to continue writing several categories of posts. The About Writing posts are here to stay, of course, as well as the That Time I _____ posts in which I share anecdotes of odd adventures I’ve had. (I’m running out of stories, but I still have a few up my sleeve.) I’ll definitely keep my reflections upon the Christian faith, my commentaries upon video games, my posts about random topics and, of course, TMTF’s ever-popular top ten lists.

Depending upon feedback, I may feature some of these categories of posts more or less often.

Which of these categories do you want to see featured more often? Which do you want to see featured less often?

I’m thinking of adding a new feature highlighting authors whom I appreciate. These posts would be titled Why [Insert Author Name] Is Awesome, and would introduce writers, explain what makes their writing significant and recommend one or two books with which a beginning reader can start.

Is this a good idea for a new feature?

I’d also like to feature more creative writing. While I probably won’t feature any more serials like The Infinity Manuscript for a long time, there are some short stories I’d like to share.

If I published creative writing on this blog, it would be on Wednesdays in order not to interrupt the usual Monday and Friday posts. In other words, creative writing pieces would be an addition to regular blog posts, not a replacement for them. Unlike blog posts, which are posted twice weekly, creative writing wouldn’t follow any kind of schedule. Rather, it would be posted only when I had something ready to post—probably once or twice a month.

What are your thoughts? Would the addition of stories make this blog better, or clutter it with unnecessary posts?

The stated purpose of this blog is “to impart hope or understanding or inspiration—or at the very least a healthy laugh—to someone who needs it.” I want this blog to make you think, or to make you smile.

This brings me to my final question.

What more do you want to see from this blog? How can my typewriter monkeys and I serve you?

My monkeys and I want to make this blog the best it can be. We want to brighten the lives of our readers, and we can’t do it alone.

Your suggestions, criticisms and advice are much, much appreciated. Please, comment away!

117. How to Kill Off Fictional Characters

Be ye warned: Here there be spoilers; specifically, plot details for Radiant Historia, the Harry Potter books and To Kill a Mockingbird.

Every fiction writer, no matter how inexperienced, possesses an ability with the potential to make readers rejoice or rage or weep. Although this ability can be powerful, too many writers fail to use it well.

Fiction writers can kill off their characters.

I’m currently playing Radiant Historia, a delightfully well-crafted RPG for the Nintendo DS. The story is set in a fantasy world in which two nations are at war over their continent’s dwindling supply of fertile land. Stocke, a secret agent, is given the task of saving the world using a magical book called the White Chronicle.

Early on, Stocke meets a young soldier named Kiel who hero-worships him. Although insecure, overenthusiastic and awkward, Kiel longs to serve his country and become a hero like Stocke.

Kiel, Stocke and their companion Rosch are suddenly plunged into a crisis. Rosch is critically injured. Enemy soldiers are patrolling the area, and it’s only a matter of time before Stocke and his companions are found and executed on the spot.

After hesitating for a moment, Kiel proclaims, “I’ll go and draw their attention!” Stocke objects, offering himself as a decoy in order to let Rosch and Kiel escape. Rosch insists they save themselves and leave him to die.

Kiel responds by shouting: “Sergeant Stocke! Thank you for everything!”

Then he’s gone.

In the end, Stocke and Rosch escape to safety. Kiel is surrounded by enemy soldiers and brutally executed.

I was staggered. Kiel was dead. The story fooled me into thinking he was just a background character, and then ended his life in a scene that made me want to cry.

That, dear reader, is how to kill a fictional character.

In the Harry Potter books, Dumbledore seems invincible, untouchable, immortal. He’s too good to die. He dies.

In To Kill a Mockingbird, Atticus Finch defends Tom Robinson with all his heart and soul. When Tom is convicted, Atticus resolves to appeal the sentence. He never has the chance. Tom makes a break from prison and is gunned down. Just like that, Tom Robinson, whom Atticus has spent the entire novel trying to save, is dead.

I’m not an expert when it comes to murdering characters in fiction. I kill off too many people in my novel—and spare one or two characters that probably should have died—but there is at least one death that matters. Those who’ve read The Trials of Lance Eliot know exactly to what I’m referring. One character dies who does not deserve to die.

Killing off characters should not be done lightly. If too many characters are killed, the reader is desensitized to death. Consider action films, in which dozens or hundreds of people are killed (in highly stylized and carefully choreographed scenes) and nobody cares.

Let me give just one more example of how to kill off characters.

There is an excellent anime called Trigun featuring Vash the Stampede (whose beaming face has already been featured on this blog). Despite his unmatched skill as a gunslinger, Vash is a pacifist. He resolves conflicts without killing anybody. When faced with two violent solutions to a problem, he invents a peaceful third solution.

One of the best things about Trigun is how Vash slowly unravels as he witnesses the carnage around him. People die. Lots of people die. Trigun has just as many fights as any action movie. For Vash, however, every casualty is a tragedy. Every death tears him apart. In the end, Trigun is a story about Vash coming to terms with himself and the violent world in which he lives.

When watching Trigun, the viewer comes to care about the victims, even the nameless background characters, because Vash does. He reminds the viewer that each death matters.

Asleep yet? No? Good. Let’s get practical.

Characters should not be killed off lightly

Don’t kill off a character just because you can. Death matters in real life. It should matter in fiction.

Don’t kill off too many undeveloped characters

Let’s face it. Nobody cares about the minor characters. Kill them off when the plot requires it, but don’t get too carried away. Deaths lose their emotional impact if they happen too often. When possible, save it for characters that matter.

The death of characters works well when it’s totally unexpected—or when it’s totally expected

Consider the examples of Kiel and Dumbledore. Part of what makes their deaths so powerful is that they’re unexpected. They happen suddenly, without much warning. Most players and readers are unprepared for them.

At the same time, however, foreshadowing can be a great way to make readers feel for a character. We feel pity when we’re sure a good character is going to die. A doomed character’s actions are poignant, and that character’s death is more moving when it comes.

What writers should avoid is killing off people whom readers suspect might die simply for being a certain type of character. If an obnoxious jerk is featured early in a detective story, for example, he often turns out to be the murder victim.

Quick, brutal deaths work well

There are enough slow, overdramatic deaths in fiction. People don’t usually die in the arms of loved ones after uttering beautiful last words. It’s a mistake to make every death in fiction emotionally satisfying. In real life, how many are?

Killing off minor characters can be a good way to develop major characters

When a military officer executes a civilian for stepping on his toe, we might not be moved by the death of the civilian—but you can bet we learn something about the military officer.

What’s your advice for killing off fictional characters? Let us know in the comments!

111. About Writing: Theme

All great works of fiction have one thing in common.

What is that, you ask?

They mean something.

Granted, most stories mean something whether the storyteller intends to convey meaning or not. A cheesy romantic novel may be awful, but it still expresses something—probably something shallow and clichéd—about romance.

A clever reader can sometimes discern meaning in a bad story, but it’s not very rewarding. It’s like sifting through a ton of sand to find an ounce of gold dust.

Good stories are different. Finding meaning in good stories can be exciting and satisfying, like digging into a cave to find heaps of dazzling jewels.

From Aesop to Jesus Christ, great storytellers have used stories to teach powerful lessons. However, storytellers must use caution and discernment when trying to convey ideas. Stories must not become propaganda. Storytellers must not be preachy. After all, one of the most important rules of writing is to show, not simply to tell.

What are themes?

A theme is a thread or pattern of meaning in a story. If that definition sounds vague, it’s because it is! Themes can be highly subjective. A reader might discern themes in a story that the storyteller never imagined. Consider the hundreds of interpretations of Shakespeare’s plays! Many good storytellers, however, are intentional in weaving themes into their work.

Let’s get practical. I want to write a story about, say, a young man named Socrates going on a blind date. How can I figure out the theme of the story? Where do I begin?

There are several ways to figure out themes. In this blog post, I’ll mention two of the most common.

The first is to use a particular theme (or several themes) as a starting point, and write the story around it. Let’s choose a theme for Socrates and his blind date. Destiny. That’s a good one. As I write the story, I’ll try to make it consistent with the theme I’ve chosen. Soc’s destiny might be to fall in love at first sight, or possibly to have the worst night of his life. Either way, his destiny—not his choices—must guide his blind date.

Personally, I don’t like this approach to figuring out themes. It seems too technical.

I prefer the second approach, which is simply to write the story and figure out its theme afterward. How can a storyteller know a story’s theme until the story is written?

Once the storyteller has discerned themes in his story, he can go back and revise the story to develop those themes. In the case of our friend Socrates, I’ll write his story and let it go wherever it wants to go. There will be time enough once his story is written to discover what it’s about.

I’ll use another example, this time from my novel. When I began writing The Trials of Lance Eliot long ago, I had no intention of giving it any kind of meaning. My only intention was to write a fantasy with swords and dragons and stuff.

As I worked on the novel, however, themes crept in, ninja-like, and wove themselves stealthily into the story. Instead of ignoring them or trying to uproot them, I decided to develop them. It was a good decision. Emphasizing existing themes was much, much easier than forcing the story to fit themes chosen arbitrarily.

Every good story means something. If you’re a storyteller, the meaning of your story is mostly up to you. Make sure it matters!

109. Science Fiction Vs. Fantasy

The title of this post may be a little misleading. If you were expecting an epic death battle between two literary genres, I’m afraid you will be disappointed. The purpose of this post is to take a quick look at why science fiction and fantasy—two literary genres often associated with each other—are different.

There are similarities, of course. The most striking is that fantasy and science fiction aren’t realistic. Fantasy is unrealistic because of supernatural elements such as magic and monsters. Science fiction, however, doesn’t involve the supernatural. Its unrealism comes from scientific discoveries or developments in technology, society and history that haven’t occurred.

Let’s start with science fiction.

Since the emphasis of science fiction is naturalistic, the genre focuses on the development of human society. Robots, spacecraft and laser weapons reflect the evolution of the human race.

The lack of supernatural elements in science fiction precludes any kind of divinity or absolute morality. Because of this, the genre doesn’t usually depict struggles between good and evil. The ultimate goal of characters in science fiction is usually survival, not moral triumph. What matters is the continued existence of the human race.

Due to this lack of absolute morality, the themes of science fiction are usually psychological, ethical and existential, not moral or religious.

Although it’s often paired with science fiction, fantasy is fundamentally different.

Since the emphasis of fantasy is the supernatural, the genre traditionally places little importance upon the development of human society. Cars, computers and guns are replaced with horses, scrolls and swords.

The supernatural elements in fantasy often indicate some kind of absolute morality, whether a standard good-versus-evil morality (e.g. The Lord of the Rings), a morality based upon maintaining cosmic balance (e.g. A Wizard of Earthsea) or some other moral system. The typical goal of fantasy characters isn’t merely survival, but moral or cosmic victory.

Due to the presence of absolute morality, the themes of fantasy are usually philosophical, moral and religious, not psychological or ethical.

In a previous post presenting a short, untidy and highly idiosyncratic history of fantasy, I made the observation that many of fantasy’s greatest authors have been Christians: George MacDonald, J.R.R. Tolkien, C.S. Lewis and Madeleine L’Engle, among others. I think it’s no coincidence that Christians, who believe in the existence of the supernatural and an absolute moral law, should leave such a profound mark upon a literary genre defined by supernatural phenomena and moral struggles.

Science fiction and fantasy are both unrealistic, but for opposite reasons. Fantasy is characterized by the supernatural, science fiction by a naturalistic worldview. These genres are opposite sides of the same coin.

What about stories like Star Wars or Star Trek that are considered science fiction and yet involve the supernatural? Consider the Force in Star Wars. It isn’t merely a scientific phenomenon, but a spiritual force. The Jedi aren’t scientists, but monks. Even so, Star Wars is usually considered a science fiction franchise. It has aliens and space battles, after all.

I think stories like these are sort of a hybrid genre. Let’s call it science fantasy. Stories in this mixed-up genre tend to demonstrate the outward characteristics of science fiction—advanced technology, space travel and so on—while expressing the moral and philosophical themes typical of fantasy fiction. Final Fantasy is a fine example of science fantasy: magic, lasers, swords, spacecraft and an unmistakable struggle of good against evil.

In the end, I believe science fiction and fantasy belong together. These genres represent radically different approaches to the same concept: a world unlike our own.

Which genre do I prefer?

Fantasy, of course. It has dragons.

106. How to Make Christian Media Awesome

Today’s post was written by Paul McCusker, veteran writer and director for Adventures in Odyssey and Focus on the Family Radio Theatre, and author of numerous books and plays. (For more from Paul, check out his website!) Since his work in Christian media has been phenomenal, I could think of no better person of whom to ask the question: “Why does Christian media so often fail, and how can we make it better?”

In the thirty years I’ve spent as a writer I’ve often heard Christians complain about the sub-standard quality of the Arts in modern Evangelical Christendom. The lament is that films, novels, plays, music and all other forms of Art seem to suffer at the hands of well-meaning Christians. I have launched this complaint myself at one time or another. And some might argue that I’ve contributed to the problem, considering my varied career as a writer in some of those fields.

Before we complain too much or too often, I think it helps to ask a few questions just to clarify what we’re talking about. What do people mean by “sub-standard quality”? Sub-standard compared to what? Are we measuring against the secular realm, which certainly has its share of flops (maybe even more if you consider the percentages)? Or are we measuring against something else? If so, what?

If nothing else, we need a coherent definition of success. For example, how do we measure artistic success? Is it based on a sense of fulfillment and experience—a story or song hits in all the right ways for the audience? Or maybe it’s the fulfillment and experience of the artist, somehow shared with others? I once read how the composer Ralph Vaughan Williams stated that he wasn’t sure if he liked it one of his symphonies, but it was certainly what he meant to say when he wrote it.

Are we measuring according to financial success? Is a great story something less than a great story if a lot of people don’t buy it? Or maybe we’re creating sub-standard art because we don’t have the right level of investment at the start? More money means better effort? Or does it?

Or are we measuring according to spiritual success, tallied by the number of people who are drawn closer to Christ in one way or the other?

These are the kinds of questions we must ask before applauding or dismissing the efforts of Artists. I’ve been moved by stories that I knew were not very well-made. Equally, I’ve been unmoved by stories because the flaws were impossible to look past. I’ve shrugged at big-budget films that should have gotten it right and didn’t. And I’ve watched in wonder at low-budget films that combined plot, character and theme in near-perfection.

All these questions aren’t meant to evade the issue. I’ve wrestled with them repeatedly over the years—from project to project, and audience to audience. There are so many factors an Artist in any discipline has to consider. But those factors aren’t always clear to the unwary. And success may only be an elusive hope, no matter what we do. But let’s allow that we should always do our best. Here are a few suggestions how.

I would suggest that any Artist—Christian or otherwise—must know the disciplines of Art. We must learn the craft. Master it, as much as it can be mastered. Do our very best while recognizing our limitations and the limitations of the Art we hope to master. Understand the objective rules of Art while appreciating the subjective experience people will have of it. Learn, learn and keep learning.

We must never do, nor accept, less than the very best, even if people seem to grow closer to God because of it. Well-intended rubbish is still rubbish. God can redeem our very worst efforts, but we mustn’t keep putting Him in a position where He has to. Yes, we can be forgiving about poorly crafted Art, but we mustn’t let that forgiveness excuse the flaws in a poor effort.

We have to remember that every Artistic effort has its own choices and challenges and opportunities for mistakes. The goal is to learn from those mistakes this time in the hope we won’t repeat them again next time. We learn—and we learn again.

It’s not popular to suggest it, but I believe we must understand for whom we write. Who are they? What are they expecting from us? (And if we don’t like the answer to that question, then we may be writing for the wrong audience.) It’s easy to look down our artistic noses at the very people we want to communicate with—especially when they’ve rejected us. Personally, I’m inclined to want to assume the best about my audience. I suspect that they are a lot smarter than me—and haven’t been proven wrong—and try to write accordingly.

None of this has to do with being “successful” in media, by the way. It’s only part of the equation. Our “success” as Artists is often determined by sales-people, distributors, producers, marketers, and a large number of professionals who will impact what we do and how we do it. In that world, we have to learn their rules—and try to play by them—until someone creates new rules for us to learn and follow. That’s yet another reality.

Even as I guest-write this blog, I’m aware that there’s someone looking over my shoulder, representing his audience, determining whether or not I’ve come close to what he asked me to write. And as I wind up, I have to paraphrase Ralph Vaughan Williams once again: I don’t know if I like what I’ve written, but it’s what I meant to say.

105. Of Coffee and Castaways: Five Poems

Dirge to Poor Verse

Alas! I suffer from this awful curse.

No matter how I try it always seems

I simply cannot write successful verse

And poetry is just an empty dream.

Pen bleeding ink, my fingers sore, I write

As crumpled papers clutter up the floor.

The wet ink glistens in the fading light;

I scratch out lines of verse—one paper more.

My epics are not epic, just absurd.

My limericks are pretty bad, I think.

My sonnets are the worst you ever heard

And all my free verse hardly worth the ink.

I hate to say it, but I think this shows

That I ought really just to write in prose.


Lamentation of a Tired Student

As ages pass this wretched class

Drags on and on till hope is gone

And joy departs from students’ hearts.

Then in the text I turn the next

Redundant page. Words stale with age

Stare up at me. But all I see

Are blots of ink. I cannot think,

For in my skull these lessons dull

Collect like dust: a mental rust

To choke and blind my drowning mind.


Ode on a China Cup

A gilt-rimmed vessel, lustrous pearly white.

Within the halo of the rim we see

The glint of coffee, dark as velvet night

Or possibly the amber gleam of tea.

Upon its side are painted roses red

And lilies gleam the shade of fallen snow:

A garden grown in fragile glass instead

Of earth from which such blooms most often grow.

The handle curves, its gentle form a grace,

A charm, a strong and undulating limb.

As airy as a piece of twisted lace,

Its splendid curve outstretched from base to rim.

A fine cup—but the truth of it remains:

The beauty is in what the cup contains!


The Coffee Song

O coffee, sweet dark nectar of the bean!

O wondrous draught of heady midnight black!

Thou art a staff on which I gladly lean,

For by thy warmth the chill is driven back.

O wondrous draught of heady midnight black,

Thou art a steady friend through morning hours!

For by thy warmth the chill is driven back,

And vigor given by thy subtle pow’rs.

Thou art a steady friend through morning hours,

Thy strength bestowed in wake of dreary night

And vigor given by thy subtle pow’rs:

To dim and bleary eyes restoring sight.

Thy strength bestowed in wake of dreary night

Renewing strength in bodies frail and old,

To dim and bleary eyes restoring sight,

O cup whose worth surpasses that of gold!

Renewing strength in bodies frail and old,

Thou art a staff on which I gladly lean.

O cup whose worth surpasses that of gold,

O coffee, sweet dark nectar of the bean!


The Castaway

A man adrift on swelling sea,

As lost as he could ever be,

One day looked up and chanced to see

A boat—

A mighty ship with billowed sail,

A sturdy craft of wood and nail,

Upon the misty ocean pale

Afloat.

This creaking ship at length drew near.

The castaway cried out in fear.

A sailor on the deck appeared

And said,

“O castaway! O drowning man!

I pray you, reach and take my hand.

This ship toward safety of dry land

Is sped.”

The castaway did then reply,

“Your offer is, I think, a lie.

So thanks, but I would rather die

At sea.”

“But if you die then you will sink

To churning depths as black as ink

Where horrors that in darkness slink

There be.”

“I see no nameless horrors dim.

I will not drown, for I can swim.

Your warnings of a future grim

Are wrong.”

“Then see this ship! None can deny

It is, at least, both safe and dry.

Please come aboard, or you will die

Ere long!”

“It seems to me naught but a wreck

Of rotted wood. To board your deck

Would be to put about my neck

A rope.

And on your deck are men who seem

Quite idle, wrapped in drunken dreams.

In consequence your ship I deem

False hope.”

“O castaway! Your words are true,

This ship is flawed, and in its crew

There are the idle drunken few.

But wait!

I beg you, hearken unto me!

Our noble captain saves, and he

Will help! Now act or it will be

Too late!”

But castaway, with many sighs,

Dismissed the sailor’s words as lies

And put his hands over his eyes

In pride.

The ship sailed on. Its course it kept

As captain and his sailors wept.

And castaway sank to the depths

And died.