Literary Trends

Today, I’d like to take a look at the present state of literature. Many of us finished school 20, 40, perhaps even 60 years ago. Chances are you have no idea what precisely the current literary trends are. This creates a problem for writers who decide to pen their first novel decades after completing their educations. But whether you are a writer or a reader, it’s always good to keep learning and growing and to be aware of the world around you.

Let’s look at a few hallmarks of contemporary literature.

Experimental – The current postmodern worldview rejects the concept of absolute truth. Therefore, people of this generation are always searching to create meaning. They reject the authorities of the past and look for new structures and models for viewing the world. This can be seen in literature in a number of areas such as nonlinear plots, stream of consciousness writing, deconstructionist criticism, experimentation with grammar, loss of dialogue tags, plots that do not resolve, ect… While Christians maintain that the word of God is absolute truth, that does not mean that we necessarily accept the Webster’s Dictionary, the Oxford standards of grammar and punctuation, or a specific five point plot structure as absolute truth.

An example of experimental literary fiction can be seen in one of this year’s Christy Award winners, The Passion of Mary-Margaret. This book is written as if you are reading Mary Margaret’s personal journal. It is a sort of fictional memoir. She jumps back and forth in time between the present and random moments in her past. She has rambling reflective segments of “telling” that normally are not allowed in fiction. However, the whole book works together to create a very moving and meaningful work of art.

Mixed Genres – As a natural result of this experimentation, mixed genre writing has increased in popularity. For example, National Public Radio employs “literary journalism,” which removes the cold objectivity of standard journalism and allows us to enter an experience with the journalist using fictional techniques and poetic language. In the Christian arena, several books which have hit the New York Times best-seller list have been mixed genre books. Blue Like Jazz is a poetic memoir full of personal stories, which includes a series of comics. The Shack is a sort of fictional memoir which combines suspense and allegory.

I wrote my first narrative nonfiction book last year. It is basically a series of thematic lyric essays. The idea of the lyric essay is that it explores a theme in a somewhat poetic, disjointed, scene by scene fashion, braiding or weaving all of the ideas together, and tying them up tight at the end. So I was able to include poetry, personal stories, short stories, essays, devotionals, and scriptures, weaving them all together into a unified collection.

Distrust of Authoritative Voice – Since the postmodern reader rejects traditional authority and absolute truth, they tend to distrust an authoritative voice as well. In nonfiction, because we no longer believe that true objectivity is possible, this leads to books full of anecdotes and personal example stories to illustrate the logical points. In historical books and biographies, this leads to the author treating themselves as a character as they search for meaning in the various accounts of history. In fiction, the omniscient narrator has fallen out of favor. The most popular point of view is now multiple third person. This allows us to see the world up close and personal from a number of perspectives and lets us to draw our own meaning from the experiences of the characters.

In my newest novel, I feature three main characters from very different backgrounds: a Christian, a Muslim, and a New Age postmodern thinker. By using multiple points of view, the reader can see how each character reacts to the world and to each other. The reader gets an in-depth look at each mindset without being told what to believe. Since this is a Christian book, I did place my Christian character as the primary protagonist, and one of the other characters will undergo a significant change. However, my Christian will also learn and grow from the views of the other two women.

Multi-sensory – Now we get to the aspects of contemporary literature affected by both postmodern philosophy and our film and television oriented culture. We need a lot of sensory stimulation in our books to compete with visual media. So more than ever our words have to draw our reader into the story, bringing them all the way into the heads and bodies of our point of view characters so that they can see, hear, taste, touch, and smell what our characters are experiencing. However, you can still see the effect of postmodernism, because we want to have a relationship with a character and draw meaning from their experiences rather than just have those experiences reported to us.

Even in schools, children are being taught in a multi-media fashion. My children now have something called “Promethean Boards,” which are basically giant touch screen computers, in each of their classes. This takes the place of the chalkboard, overhead projector, and movie projector all at once. This shift in our culture is going to continue to change our thinking and learning styles. Sheer left-brained logic is no longer the rule of the day, which is why intuition, experience, relationship, and image have become so important to our younger generation.

Use of Scenes – The last area I would like to cover is the use of scenes. Of course this relates to television and film and our attention deficit culture. We’ve become used to scenes set in one time and place. A quick switch of the camera, and we accept that we’re in a new time and place, which is the next significant time and place in the storyline. We don’t need an explanation about how we got there or what happened in the interim. We don’t question if the writers and directors have left out some significant information that we need to know. But again, this also relates to the postmodern mindset because we want to draw our own conclusions and don’t want everything explained to us from an authoritative point of view.

The way this plays out in both fiction and nonfiction is that we can now give a brief scene or a segment, leave a space or insert a “***,” and the reader accepts that we are in a new place or on to the next subject or story without much explanation. Readers no longer desire superfluous transition. Just get to the point. Stick with what matters and move the story along. In nonfiction, this often minimizes the authoritative commentary. Instead, the author lets the reader take in the information and waits until the end of the chapter to wrap things up. At that point the author can offer their own conclusions, but in a personal way that says, “These are the conclusions that I have drawn,” leaving space for the reader to draw their own.

In trying to be brief for this blog post, I probably broke a lot of the rules of postmodern literature by explaining the subject in an authoritative voice ;) So what are your experiences with contemporary reading and writing? What trends have you seen? How do you notice our culture affecting today’s literature and media?

Postmodernism: the Good, the Bad, and the Hopeful

A few weeks ago I was looking over my tenth grade daughter’s syllabus for her high school modern dance class. I noticed one of the subjects they would be covering was postmodern culture. If someone in your life was studying postmodernism, would you know what that meant? Would you know what inherent dangers exist in postmodernism, or what the benefits of such thinking might be? I confess, until about ten years ago, I had no idea that postmodernism was the prevalent culture in our Western world today. I assumed it was a reaction to the modernist period in some way, but I didn’t understand its scope or importance.

Let’s start with a bit of Western history going back to the Holy Roman Empire. From a few hundred years after Christ until at least the Renaissance can be called the “Pre-modern Era.” During that period the general world view was “theistic”, meaning God-centered. Scripture and the church were final authorities. While this mindset might sound wonderful to Christians, it created its own sort of problems. Scientific discovery was seen as heretical because it challenged church tradition. The church had too much political power and became corrupt. It often took away the freedom of choice that God gave mankind from creation. In fact, many incredible Christian believers were martyred during this time by the church.

Enter the “Modern Era.” Some trace the roots of this era back as far as the Renaissance, however it strengthened during the “Enlightenment Period” of the late 1700s and hit its peak in the late 1800s which is known as the “Modernist Period” in literature and art. The secular worldview of this era is based on science and reason, and it trusts only what can be evaluated by the five senses. Life was governed by logical principles and ethics. God was seen as distant or absent, and man became the final authority. Authority structures were clear. It’s obvious that the inherent atheism and secular humanism were diametrically opposed to a Christian worldview. But, what is not clear is how elements of this mindset seeped into Christianity as well. If you look at traditional churches even today, you might find the same modernist attention to hierarchical structures, emphasis on law, and rejection of the supernatural to a degree that is not Biblical.

So where does that leave us? Most academics would say smack in the middle of the “Postmodern Era,” which began around the early 1970s originating from the hippie movement. Rather than theistic or secular, the worldview of this era is "pluralistic", or in other words, an acceptance of all worldviews. Life is governed by personal choice rather than theology or ethics. While atheism has declined, the concept of one God has been replaced by a variety of spiritualities. The postmodern thinker rejects the concept of absolute truth. They believe we each create our own personal truths based on experience. They see the world as chaotic and random and seek to find their own meaning within it. The positive side of postmodernism is that these people are hungry for spirituality and the supernatural, searching for meaning, and open to new experience.

Clearly there are many elements of postmodernism that clash with our Christian beliefs, but as I hope I have established, the same can be said of the Pre-modern and Modern eras. On the other hand, the positive aspects of postmodernism open avenues for evangelism and outreach. The church needs to understand postmodernism and reevaluate the cultural elements of Christianity in order to reach a new generation that has grown up with this mindset. I was born in 1970, which leaves me right on the outside edge of this generation, but since my parents are young, and I grew up in a Jesus movement hippie church where the pastor often wore jeans and sandals to preach, I identify with this generation and feel called to minister to them with the absolute truth that can only be found within the word of God.

But in order to do that, we need to understand how these people think. We need to learn to speak their language. We need to know what they are looking for. Because, and here’s what I want you to take away from this post:

Authentic Biblical Christianity can meet the needs of our postmodern generation, but outdated religious Christianity cannot!

We need to rediscover Biblical truths in light of the areas that hold sway with this generation: image, experience, relationship, and intuition. We need to reach them with Christianity that focuses on relationship and experience with God. Christianity that is authentic and real. We must go through the heart, not merely the logical mind. We must let them find God for themselves, not point to authorities they don’t yet believe in. We must become open to the supernatural movement of the Holy Spirit in our lives and our churches. We must meet their cultural needs with music, art, drama, and dance that speak to their hearts. We must accept that they might dress, look, and act differently than Christians from the mid 1900s. We can even incorporate the technology and visual images they have grown up with into our church services.

None of these things go against the absolute truth found in God’s word. In fact, I would be happy to supply scriptural proof that all of these are encouraged in God’s word. Only tradition and religiosity stand in their way. There’s nothing “wrong” with doing things the old way, but there’s nothing “wrong” with embracing a new way either. We must understand the difference between culture and Christianity. While we never sacrifice the absolute truth of the scripture, we should be willing like Paul to become “all things to all men so that by all possible means I might save some.” I Corinthians 9:22

And here’s the exciting part for those of us who love literature. We must reach the postmodern generation through story! Through story, the postmodern thinker can find relationship with a character and share experiences with them. They can use their intuition and imagination to discover God. They can begin to see how their “personal narratives” fit into the grand “meta-narrative” of God’s story upon the earth.

Yes, there’s much about postmodernism that can seem bad, ugly, even downright scary to the Christian believer. But I choose to look with hope at the beauty in this mindset. A generation that is open to God and hungry for supernatural experiences. And I can’t wait to reach this generation through the stories, dances, and dramas that God lays on my heart.

What sort of church culture do you enjoy personally? What are you or your church doing to reach out to this postmodern generation? Do you totally disagree with everything I've just written? It's okay, you can tell me the truth, I'm all about being authentic :)

Crafting for Structure - Writing Series Week 4

First things first, if you glance down, today’s lesson will look very long. But feel free to read the opening segment then skip to the genre that applies to you once you reach the bold headings.

Today as we talk about form and structure in writing, I want to begin by talking about the importance of story in our contemporary culture. For the past five hundred years or so, the Western world went through a time known as the “Modern” period. Modernism was marked by rational thinking, a belief that we could know everything through science via the five senses, and clear authority structures. With the scientific and technological advances of the last 40 years or so, we have suddenly undergone a radical cultural shift into the Postmodern period. Philosophically speaking, Postmodernism poses many problems, particularly in its marginalization of truth. Okay, this topic deserves its own graduate level class, but suffice to say that like it or not, we are now living in the midst of a Postmodern culture.

The generation which has grown up in this culture, primarily those under age 35, show significant psychological shifts from the previous generation. Whereas logic and reason reigned supreme for hundreds of years, these individuals show a marked increase in their awareness of and need for spiritual realities. This can be used to lead them to Christ. However, we need to rediscover Biblical truths in light of the areas that hold sway with this generation: image, experience, relationship, and intuition.

Story is the most powerful way to communicate to this. Story employs images. It allows us to intuitively experience a situation through our relationship with the characters. In fact, there is a move these days away from systematic (logical) theology and towards narrative (story) theology. In narrative theology we imagine ourselves living out Biblical stories. We begin to see how our personal narratives fit into the grand meta-narrative of God’s story upon the earth. For more on this subject I highly recommend the book Story: Recapture the Mystery by Steven James.

Stories show us characters facing conflicts. Most stories end happily with the character overcoming the conflict. Through the story, we learn something about life. If there is no conflict, there is no story. The same basic story or plot structure is employed in everything from fairy tales to epic sagas. You have a beginning where we meet the characters and are introduced to the problem they face, a middle where the conflict escalates, a climax where the characters face their greatest struggle leading to a turning point, and the end or resolution where the story is wrapped up. For more on understanding story and story structure, I recommend A Million Miles in a Thousand Years by Donald Miller.

Now that I’ve given you my rant on the importance of story, I will look at form and structure in several genres of writing. What I will be presenting is merely the tip of the iceberg on each of these subjects. Please use what you’ve learned today as an impetus to continue studying and learning the writing craft in your chosen genre.

Plot Structure
In the novel or full length script we take the basic story structure mentioned above and turn it into a more elaborate plot. There are many different models available to help you plot your story. Personally, I like the “Plot Skeleton” by Angela Hunt. You can find a full article about the “Plot Skeleton” in a collection called A Novel Idea.

In the beginning of the book or script you want to introduce us to the characters, setting, and problem, but you also want to get the story going right away. Show us your main character or primary protagonist in action. This main character needs a goal, and the struggles they will face in achieving their goal will provide the needed conflict to propel the story forward. In order to get the story going, it is helpful to have this main character dealing with some sort of obvious external problem as we get to know and care about them.

Next we enter the body of the story where the character is thrust into the story world and the real problems they face. Ideally, they should face both internal and an external conflicts which interrelate. Throughout this section of the book they will face a series of conflicts or complications, each with its own miniature climax and resolution. And, as you go along the conflict and tension should continue to mount.

Finally, the character should face their darkest moment. This will propel us into the main climax for the story as a whole. If the author has done their job well, the internal and external problems should both resolve as the character faces this major turning point. They will learn something that will allow them to face their challenge. In most cases they will overcome the external problem in a way that will also resolve their internal dilemma. This leads to the ending or resolution where the author wraps everything up.

Keep in mind that in order to meet today’s current trends in novel writing, all of this should be constructed in scenes with each scene occurring in a specific time and place from a clear character point of view.


Biography or Autobiography Structure
A good biography will use a plot structure and story arc similar to the description given above for a novel or film script. The job of the writer is to find the main story arc within the person’s life and focus on that as they write the biography. Another related option would be to write the biography as a series of short stories and link them together with introduction, transitions and conclusions, moving along in a basic chronological fashion. The final option for a biography will be discussed below in the narrative nonfiction section. It is basically taking random stories and weaving them into thematic chapters.

Essay or Nonfiction Structure
The classic essay structure is introduction, body, and conclusion. In other words: tell them what you’re going to tell them, tell them, tell them what you told them. Most nonfiction books follow this same basic pattern. The introduction should start with something exciting to pique the readers interest in the subject. It should state the thesis or theme, and it should give a brief hint at the main points that will be covered in the essay or book. The body includes main points and details to support the main points linked by transitional sections. The conclusion restates the thesis/theme, shows how the author has proven their thesis or illustrated their theme, and sums everything up. In a nonfiction book, this essay structure should be apparent in the book as a whole. In addition, each chapter should repeat this structure on a smaller scale.

These days publishers and readers are looking for story and quality fictional elements in their nonfiction as well. A great way to supply this is to use short stories to support your individual points within the chapters. These stories could be autobiographical, biographical, or even fictional. The more artistic elements you can include, like description, character, dialogue, etc…, the more these stories will come to life. In addition to using story within your nonfiction as examples, publishers also like to see a story arc of beginning, conflict, climax, resolution in nonfiction if at all possible.

Narrative Nonfiction
Narrative or creative nonfiction is a term given to a genre which has become very popular in recent years. The autobiographical version is also referred to as memoir. This is an eclectic mix of story, nonfiction, and poetic elements. Usually these collections include random stories woven together around a central theme. Like a nonfiction book, this is generally true for the book as a whole, but also on a chapter by chapter basis. The most famous Christian example of this style is Blue Like Jazz by Donald Miller. Other great Christian authors in this genre are Steven James and Anne Lamott.

Allow me to give you an example of how this might work from my own narrative nonfiction, Secrets of the Teddy Bear Indian Dance: Mysteries Unveiled While Spinning Between Earth and Sacred Praise. I start with an introduction about the book, why I wrote it, and a brief overview of the types of topics I will cover. My first chapter is called “Trapped in Time.” It begins with a short poem by that same title. I then introduce the topic of being trapped and give a few brief examples from my life. Scene break. I tell part one of a dramatic story where my family is stuck in a war. Scene break. I have a scripture passage about being trapped. Scene break. I offer some reflection and transition. Scene Break. I tell a different story about being trapped. Scene Break. Part two of the story in Lebanon. Scene Break. I conclude the chapter by reflecting back on how the stories and the poem link to the trapped theme and tie them together with a strong conclusion. I continue that basic pattern for sixteen more chapters. In some cases I include essays, devotionals, and even short stories. My last chapter has its own stories and theme, but also serves to wrap up the book and all the themes within the book.

The key idea of narrative nonfiction is weaving or braiding and then tying it up tight as you come to your conclusions. I like to pull ideas, images, and refrains from previous chapters to keep a sense of continuity throughout the book. Notice that in addition to including actual poetry, I am using poetic techniques of image and refrain to structure the book. I also like to have a sense of rhythm to my writing.

Note on Personal Experience Stories
Creative nonfiction books are usually based on personal stories. Anytime you use personal experience stories in your writing, be careful not to make yourself out to be the hero or the victim. You should be the mistake maker. The lesson learner. In fact, as much as possible, write yourself out of the story so that we are focusing on the theme rather than on your own amazing life. When choosing personal experience stories, try to think of moments that changed you in some significant way. Focus on what went wrong, in other words the conflict of the story. For more on this genre I recommend a collection of essays titled Writing Creative Nonfiction.

Poetic Structure
Poetry is the art of language. Poets should pay attention to four major elements as they write. 1) The look on the page. Poetry is typically written in verse, meaning that the author controls the length of the line. Spaces between segments of the poem create stanzas or strophes. Poems can be written in closed form, meaning a preset pattern or in free verse where the writer makes their own decisions about line lengths, stanzas, etc… 2) Images. All poems should offer clear images that spark the imagination through the five senses. Often through the use of simile and metaphor these images become symbols for deeper issues in life. 3) Sound. All poems should give special attention to the sound of the words. Older closed form poems use meter, a set rhythmic pattern. However all poets should pay attention to the sounds and rhythms of their words. Rhyme, or use of matching sounds, is also employed by many poets to varying degrees. 4) Meaning. Poems should mean something. They should say something about life through the interplay of image, sound, and word choice. Even choices about the structure on the page can add to the meaning of the poem. If you think a literary poem is a bunch of random, meaningless nonsense, chances are the poet was making a statement about the randomness and futility of life.

Homework: Your homework is to continue studying to form and structure of your current genre. Begin applying what you are learning to your theme or premise. If possible, create an outline or summary based on what you are learning. If you haven’t chosen a genre yet, try writing a personal experience story with a theme.