They say there's nothing new under the sun, and the Christian fiction industry certainly didn't spring full blown with the advent of the Left Behindseries in 1996. Remember Christyby Catherine Marshall? Published in 1967, its inspiration was the life of Marshall's mother - and the Christy Award, presented annually since 1999 to recognize novelists and novels in several categories of Christian fiction, was named after it. What makes Christian fiction? There are several givens, despite the subgenres- the Christian worldview must be woven throughout both the book's plot and its character development. But must it put proselytizing before telling a good story? How much sex - if any! - is okay in a Christian romance? Is it all right to approach edgy subjects in a Christian mystery? Is it possible to seamlessly integrate a Christian message in a crackling good yarn? In The Complete Idiot's Guide to Writing Christian FictionRon Benrey - himself the author of successful Christian fiction - offers readers chapter and verse of writing Christian women's, romance, thrillers and mysteries, warfare, historical, biblical, speculative, and young adult fiction that deliver strong, inspirational messages and sell!

Let's face it: Christian fiction is fun. Even if you're writing a serious-minded study of man's inhumanity to man, there is something exhilarating about story; about creating people and worlds and events; about telling a tale that keeps readers enraptured and maybe - just maybe - leaves them fortified in their walk with Jesus. But for all of the fun, it's also hard work. There is skill involved in writing excellent Christian fiction. There is craftsmanship to be learned. And there are the long hours pounding away on a manuscript that, by the time you're done with it, has you convinced it's the worst piece of garbage ever penned by man. That's not even talking about trying to get your book published. It's a wonder anyone would choose such a way to spend otherwise useful time. So maybe you put your novel away for awhile. You've tried to do more sensible things with your spare moments. You've attempted to be engaged with workaday matters, laundry, and bills. But one day, a new story idea will pop into your head or you won't be able to stop hearing the voice of a character demanding to be written about. On that day, you'll be right back where you were, counting the cost of writing Christian fiction â€" and loving it like nothing else.

Six acclaimed authors discuss the influence of religion on their writing. Includes comment by David Bradley, Allen Ginsberg, Mary Gordon and Jaroslav Pelikan. Third in the Writer's Craft series.

Credited with sparking the current memoir explosion, Mary Karr’s The Liars’ Club spent more than a year at the top of the New York Times list. She followed with two other smash bestsellers: Cherry and Lit, which were critical hits as well. For thirty years Karr has also taught the form, winning teaching prizes at Syracuse. (The writing program there produced such acclaimed authors as Cheryl Strayed, Keith Gessen, and Koren Zailckas.) In The Art of Memoir, she synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and “black belt sinner,” providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre. Anchored by excerpts from her favorite memoirs and anecdotes from fellow writers’ experience, The Art of Memoir lays bare Karr’s own process. (Plus all those inside stories about how she dealt with family and friends get told— and the dark spaces in her own skull probed in depth.) As she breaks down the key elements of great literary memoir, she breaks open our concepts of memory and identity, and illuminates the cathartic power of reflecting on the past; anybody with an inner life or complicated history, whether writer or reader, will relate. Joining such classics as Stephen King’s On Writing and Anne Lamott’s Bird by Bird, The Art of Memoir is an elegant and accessible exploration of one of today’s most popular literary forms—a tour de force from an accomplished master pulling back the curtain on her craft.

This classic guide, from the renowned novelist and professor, has helped transform generations of aspiring writers into masterful writers—and will continue to do so for many years to come. John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here.

This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."

A deep well of practical and inspirational wisdom for every Christian writer Imagine you have the chance to spend an hour or so alone with a couple of well-published writers. Imagine they share with you secrets of their art, and reveal how their art relates to their faith. This is the experience awaiting you with the twenty-two authors of this book. In A Syllable of Water, some of today's leading writers of faith reflect on all aspects of the writing vocation and process in ways that will inform and inspire. Philip Yancey, Richard Foster, Luci Shaw, and others discuss everything from the tools of a writer to the ways that they spend their time when they are not writing. Editors such as John Wilson (Books & Culture) and American Book Award-winning Cherokee poet, Diane Glancy, reflect on the value of the editor-writer conversation, as well as the power of revision. And other writers of stature including Doris Betts, John Leax, Erin McGraw, Harold Fickett, Virginia Stem Owens, Jeanne Murray Walker, Scott Cairns, and Eugene H. Peterson offer sage advice on how to approach nearly every imaginable genre from fiction and nonfiction to memoir, poetry, and translation. Editor Emilie Griffin is the author of several books, including Small Surrenders, Doors into Prayer and Wonderful and Dark is This Road. She is a founding member of the Chrysostom Society, a group of distinguished writers who meet periodically to discuss matters of faith and writing.