While that statement may be simplistic, I think you get my “persuasive” point. When a writer comes to the conclusion, the focus must shift from explanation to implication. The reader has followed the argument and, hopefully, now stands at a point where the writer must bring its purpose home. The remaining task in the presentation is to show how that purpose extends beyond the page. The takeaway.

The temptation in a conclusion is to write a recap with a few comments to tidy up. If it were that simple, then a reader could have skipped the previous chapters and read this synopsis. Instead, in great writing, a well-constructed argument carries its own persuasive strength, and the reader can recognize what follows from it.

The writer’s role in the conclusion is to make that recognition clear. To provide direction without restating or overstating the case. This should come naturally from what was already established in the prior material. It is here that the central ideas are gathered in a way that the reader can see what has been argued but also why it matters to them, personally.

When handled with care, the conclusion does more than end the piece. It extends it, allowing the ideas to continue their work in the reader’s thinking beyond the final sentence. Plus, it may create a reader who anticipates your next work with enthusiasm.

The post The Art of Persuasive Writing Series (7 of 7): Where Persuasion Leads appeared first on The Steve Laube Agency.

Sure. Perfectly normal thinking.

Then he did something about it. Enjoy today’s video!

Could your next brainstorm become a reality by using the gifts and talents you have?

[If you cannot see the video in your newsletter, please click through to the site to view it.]

The post Fun Fridays – October 9, 2026 appeared first on The Steve Laube Agency.

Granted, fame might allow an author to publish under any title. I remember perusing library books to find no plot summary or any information other than the author’s name and book title. The author’s photo consumed the entire back cover. That’s it. Certain readers will buy any book by some authors, but offering no information doesn’t attract new readers.

What Should the Title Say?

Regardless of the author, for a novel, I want to know about the plot; and for nonfiction, I want to know the topic before I invest time and money. To wit, here are a few titles from my personal library:

The Meaning of Life

Discovering the Character of God

Real Christianity

Mary Magdalen

Billy Graham in Quotes

Grimm’s Complete Fairy Tales

Heaven Awaits

The Tales of Guy de Maupassant

Mrs. Dunwoody’s Excellent Instructions for Homekeeping: Timeless Wisdom and Practical Advice

The Price Was High: Fifty Uncollected Stories by F. Scott Fitzgerald

Names through the Ages

These titles immediately reveal each book’s contents and intent. Admittedly, titling your book may not be as straightforward. Most readers will still need context to discern a book’s intent.

A Title May Not Tell Everything

I own a copy of Sin and Temptation. Oops! Maybe I shouldn’t have told you. That’s a racy romance novel, right?

Sure isn’t.

Additional information on the cover tells a different story. How about the sidebar touting Classics of Faith and Devotion. On top of the title, From the works of John Owen. Then the subtitle, The Challenge of Personal Godliness.

Granted, the design sacrifices eye-catching artwork. Because most publishers want to present pleasing and impactful cover art, most authors don’t have the luxury of including several boxes of written information on their covers.

Selecting Your Title

In light of most authors’ restrictions, what can we do?

• Choose few words. This makes the title easy to remember and allows the most room for fascinating artwork. Not to mention, your byline! 

• For a novelist, capture a place, characters, or essence. Arizona Sizzle denotes an entirely different feeling than Vermont Cocoa. 

• For nonfiction, reveal the topic. When I’m searching for nonfiction, I’m on a mission to learn and discover so the topic’s prominent appearance is helpful. To narrow my search, subtitles help even more. A Comfortable Home says a lot. A Comfortable Home: Welcoming Elderly Parents says more.

Is the Title Taken?

After you’ve chosen your title, search the internet to see if it’s been used in the past few years. Perhaps your book is nonfiction, and your chosen title is that of a novel. But many people search by title on the internet rather than perusing physical bookstore shelves where the books have been sorted by category. Thus, a recent title appearing in a search will only serve to distract your potential reader.

Steer away from classic titles. Gone with the Wind might be a great title for a storm chaser’s memoir, but difficult to market.

By the way, I searched online for titles to use in this post to be sure I didn’t make a misstep. To my amazement, I found an independently published novel titled A Comfortable Home: A Pride and Prejudice Variation.

Be Flexible

Please know that unless you’re publishing independently, the title you choose for your proposal is meant to attract agents’ and editors’ attention only. The marketing team at your publisher may decide to change your beloved title. And that’s more than okay. Trust them. They know what they’re doing.

The post Your Best Title appeared first on The Steve Laube Agency.

Watch and pray that you may not enter into temptation. The spirit indeed is willing, but the flesh is weak. For the desires of the flesh are against the Spirit, and the desires of the Spirit are against the flesh, for these are opposed to each other, to keep you from doing the things you want to do. I know that nothing good dwells in me, that is, in my flesh. For I have the desire to do what is right, but not the ability to carry it out.

Lord, we wait for you; your name and remembrance are the desire of our soul. My soul yearns for you in the night; my spirit within me earnestly seeks you. For when your judgments are in the earth, the inhabitants of the world learn righteousness. But he said to me, “My grace is sufficient for you, for my power is made perfect in weakness.”

Therefore I will boast all the more gladly of my weaknesses, so that the power of Christ may rest upon me. For I delight in the law of God, in my inner being, but I see in my members another law waging war against the law of my mind and making me captive to the law of sin that dwells in my members.

(Matthew 26:41; Galatians 5:17; Romans 7:18; Isaiah 26:8–9; 2 Corinthians 12:9; Romans 7:22–23)

RUMINATE

“Many of my daily preoccupations suggest that I belong more to the world than to God. A little criticism makes me angry, and a little rejection makes me depressed. A little praise raises my spirits, and a little success excites me. It takes very little to raise me up or thrust me down. Often I am like a small boat on the ocean, completely at the mercy of its waves. All the time and energy I spent in keeping some kind of balance and preventing myself from being tipped over and drowning shows that my life is mostly a struggle for survival: not a holy struggle, but an anxious struggle resulting from the mistaken idea that it is the world that defines me.” —Henri J. M. Nouwen

“He who has not the love of God rooted in his heart will fall away in time of temptation.” —Thomas Watson

“If you yield to Satan in the least, he will carry you further and further, till he has left you under a stupefied or terrified conscience: stupefied, till thou hast lost all thy tenderness. A stone at the top of a hill, when it begins to roll down, ceases not till it comes to the bottom. Thou thinkest it is but yielding a little, and so by degrees are carried on, till thou hast sinned away all thy profession, and all principles of conscience, by the secret witchery of his temptations.” —Thomas Manton

From Day Twenty, Spiritual Exercises, Sacred Margins: On the Spiritual Life of a Writer.

The post Monday Moments – October 5, 2026 appeared first on The Steve Laube Agency.

Enjoy today’s video about one of the world’s greatest antiquarian book shows. [It is ten minutes long, so sit back and enjoy!]

The post Fun Fridays – October 2, 2026 appeared first on The Steve Laube Agency.

And I agree with that to a point, but cliffhangers have different tones. If every chapter ends with someone screaming, a gun going off, or a car exploding, readers may eventually say, “Enough!”

But every scene should end with a reason to keep reading.

A strong scene ending creates a question, a problem, an emotional shift, or a new piece of information that makes the reader think, Okay. One more page.

Here are a few ways to do that.

1. End With a New Problem

What this means is that your character spends the entire scene trying to solve something. And then she does! Fabulous, right? She solved it. But … at what cost? Because everything has to cost something:

Maybe she finally gets the information she needs—but now the person who gave it to her is in danger. Maybe she escapes the building—but realizes someone followed her home. Maybe she gets the job—but discovers who her new boss is. (Yikes! I actually love this for a scene ending.)

The original problem may be over, but the story just got more complicated. And the reader is going to turn the page.

2. End With a Question

Not necessarily a literal question in dialogue, although that can work sometimes. But I mean, give the reader something they need answered:

Why did he lie? Who moved the picture? Why does the victim have the heroine’s phone number in his pocket? What did the child see?

The key is that the question should matter to the story. Readers turn pages because they want answers to the questions created.

3. End With a Decision

Decisions create forward motion for the characters and, thus, the story.

Your character has spent the entire scene resisting something either external (like another person) or internal (like making a decision, weighing the costs of the decision, etc.).

Then, at the end, the decision is made:

She’s going. He’s telling the truth. She’s breaking into the warehouse to get the evidence no one else seems to be able to find. He’s finally calling his sister.

You get the idea. A decision points the reader toward what happens next. And if the decision is risky enough, we want to see how badly it goes. Because, of course, it probably will.

4. End With a Reversal

The character thinks one thing is true, then discovers it isn’t. The police have the killer—except the heroine gets a text from him. The missing child has been found—except it’s the wrong child. The hero believes the threat is over, then recognizes the man standing across the street.

A reversal works because it changes the reader’s understanding of what just happened.

5. End on Emotion

Not every scene needs danger. Sometimes the strongest ending is quiet:

A character realizes she no longer trusts the person beside her. A father understands his son is afraid of him. A woman hears the apology she has waited ten years to hear—and realizes it changes nothing.

That emotional shift can pull a reader into the next scene just as effectively as a gunshot. Maybe more effectively. The goal isn’t to manufacture a cliffhanger. It’s to create unfinished business.

Something’s changed. Something’s coming. And something definitely still needs to be answered.

When you reach the end of a scene, ask yourself: What makes the reader need the next one?

If the answer is “nothing,” it’s time to evaluate and perhaps find a new ending.

The post Make Every Scene Matter (Part 3): Scene Endings That Keep Readers Turning Pages appeared first on The Steve Laube Agency.

Revision involves careful thinking. Books are written over time, and chapters done five weeks ago may no longer be easily recalled, which creates common problems. Look for repetitive thoughts, for sentences that circle around an idea without moving it forward, and for meandering sections that slow the progress of the idea without adding anything of lasting value. These troublesome bits tend to accumulate during the drafting stage.  Never fear the delete key or the backspace key.

There is a discipline in deciding what to keep and what to remove. Material that is interesting or well written may still need to be cut if it does not serve the larger purpose of the piece. This requires a willingness to prioritize the book’s purpose over a passionate side point or a favorite section of brilliant prose. The goal is refinement, to make the book better.

I had the privilege of working with the late Calvin Miller on his great book Into the Depths of God. We sat in his study and took turns reading his manuscript aloud. I would read something and he would frown, saying, “That’s terrible. Who wrote that?” We would laugh and cross out a full page or two of text. By the end, thirty percent of the manuscript was on the cutting-room floor.

Good revision acknowledges that the first version of our thoughts rarely represents their clearest expression. Every pass through the manuscript asks the same question, “Does this help the reader understand what I am trying to say?” If the answer is no, the sentence should be removed. The reader will never know how much pain you suffered by making certain words, clever phrases, paragraphs, or pages disappear. That is how it should be. The best revisions are invisible. Yet it marks the difference between a book that is merely finished and one that is truly persuasive.

The post The Art of Persuasive Writing Series (6 of 7): The Work That Strengthens Writing appeared first on The Steve Laube Agency.

Enjoy today’s “switch” video!

The post Fun Fridays – September 25, 2026 appeared first on The Steve Laube Agency.

Chances are, it was fun. It was “pretend.” It was play.

When I was a precocious lad of twelve or so (it’s mostly worn off by now), a couple of my friends from church moved far away. They were both girls, but I wasn’t yet the Dreamy McDreamerson that I am now. I was both introverted and lonely, so I started writing letters to them, longhand at first, and then—get this—on a manual typewriter, which allowed me to use carbon paper (ask your grandma what that is) so I could write to both of them at the same time!

But these were not your ordinary, run-of-the-mill, typical “How are you? I’m fine” kind of letters. Oh, no. Because writing can be fun. And I was having fun.

So, I would write a letter in the POV of “Cowboy Bob,” describing the events of my week in that character’s voice, as though I were a cowpoke on a dusty cattle drive, rather than a freckle-faced redheaded sixth grader in his Cincinnati bedroom.

I’d carry on that conceit for a few weeks, and then I’d start a new adventure as “Spaceman Bob,” before shifting a while later to, I dunno, “Radio Preacher Bob,” and so on.

We carried on that correspondence for a year or so, I suppose. Why? Because I had a typewriter and a piece of carbon paper. And because it was fun. And not just for me, it turns out. I learned years later that one of my friends found my letters so fun that she read each new missive aloud at the family dinner table, to the delight of her parents and older siblings.

I was mortified. Justifiably so, it turns out, because twenty-five years later a 9 x 12 envelope arrived in the mail. My other friend had saved all of those letters and sent me copies. I shouldn’t even have read them. It was humiliating because, believe it or not, I’d matured a tiny bit in those twenty-five years and my twelve-year-old self wasn’t nearly as clever as I had thought at the time.

But my point is—I was writing as play.

Bret Lott, in his book Before I Get Started, wrote,

It is the writing I enjoy, the actual act of sitting at my desk and looking out my window at the trees, the yard, the sky, and the intermittent sinking into the world of the story at hand, only to rise up and see that sky again, see those trees, see the angle of light through them different now for the sun passing over this all (Before I Get Started, p. 35).

Yes. See, we sometimes get so wrapped up in the pursuit of publication that we forget what attracted us to writing in the first place: It’s fun. Or it can be. It should be.

A writer is wise to hold on to that, to those moments when he’s laughed out loud, when she’s lost track of time, when you just had to call someone to listen to something you’d written just because it … was … so … much … fun.

Writing is its own reward.

Published or not.

Polished or not.

If it’s not, you’re doing it wrong.

The post Write for Fun (Again) appeared first on The Steve Laube Agency.

Let me make sure I don’t confuse the issue. So let’s first explore the difference between fiction and nonfiction storytelling. Fiction tells the truth through invention. Nonfiction tells the truth while carrying the obligation of factual accuracy. Don’t get me wrong, the difference between fiction and nonfiction is not imagination versus truth. Fiction can help a reader feel the force of the truth. Nonfiction can help the reader understand why that truth should be believed.

The effectiveness of a story in nonfiction lies in its ability to illustrate. A well-chosen example can reveal the point in a way a declarative statement cannot. It allows the reader to recognize ideas that might otherwise remain hidden.

Stories must be chosen with care and used with restraint. If your work is only a series of anecdotes interspersed with the occasional Bible verse or interpretive thought, the stories lose their power. They may serve the ultimate idea but end up distracting from it. But when used well, they deepen understanding and can be a truly powerful tool.

In some cases, a reader may forget the overall structure of your book, but a well-told story can stick with them, along with the persuasive point that was being illustrated at the time.

The post The Art of Persuasive Writing Series (5 of 7): Story Matters More Than You Think appeared first on The Steve Laube Agency.

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But books are still an example of a temporal and perishable form of communication. Apart from the Bible, nothing man-created is truly eternal. Everything from the hand of a human will pass away, even your favorite book and author.

When considering Christian writing with an eternal perspective, we need to identify the elements in the process that are not perishable from a human perspective.

What does it mean to write with an eternal perspective?

As usual, Scripture provides a framework. Romans 8 has so many great themes. For some, it is their favorite chapter in the Bible. For purposes of this topic, I’ll focus on verses 18-25. In it, Paul reminds the Christians in Rome: (text from NLT)

“Yet what we suffer now is nothing compared to the glory he will reveal to us later. For all creation is waiting eagerly for that future day when God will reveal who his children really are.”(vs 18-19)

“Against its will, all creation was subjected to God’s curse. But with eager hope, the creation looks forward to the day when it will join God’s children in glorious freedom from death and decay.”(vs 20-21)

“For we know that all creation has been groaning as in the pains of childbirth right up to the present time. And we believers also groan, even though we have the Holy Spirit within us as a foretaste of future glory, for we long for our bodies to be released from sin and suffering.” (vs 22-23a)

“We, too, wait with eager hope for the day when God will give us our full rights as his adopted children, including the new bodies he has promised us. We were given this hope when we were saved. If we already have something, we don’t need to hope for it. But if we look forward to something we don’t yet have, we must wait patiently and confidently. (23b-25)

So, writing with an eternal perspective is a Christian “groaning” with words. We look at the world around us and yearn for that “glorious freedom.”

As a Christian writes anything, underlying every message should be a reminder that while everything is broken and not what it was intended to be, it won’t be forever. We “eagerly hope” with patience and confidence, giving our readers a foretaste of future glory. The hymn Great Is Thy Faithfulness contains a perfect line about this: “Strength for today and bright hope for tomorrow.”

Practically speaking, to write with an eternal perspective:

• Look to Scripture for themes rather than using the Bible to prooftext by quoting a verse here and there to support your thoughts.
• Treat your readers with the Fruit of the Spirit found in Galatians 5.
• Give hope. It is a core message.
• Know your “credit limit.” All good gifts are from the hand of God.

God is always accomplishing things far beyond what we could ever imagine or manufacture on our own. Just keep planting seeds, and God will handle the fruit.

Do these things, and you will find yourself writing from an eternal perspective.

Today is my final day working for the Agency. It has been an honor and a privilege.

The post Writing With An Eternal Perspective appeared first on The Steve Laube Agency.

Trust develops first, and it develops quickly. Often this begins as the point of sale when the book is purchased due to the author’s name, credibility, or from a recommendation. This trust is affirmed by a writer who handles opposing views with fairness, avoids exaggeration, and chooses words with care. When the writing reflects integrity, the reader senses it. On the other hand, when the tone feels careless or overstated, that trust is weakened, if not broken.

Reasoning forms another layer. A presentation of an idea must proceed with steadiness, each point arising naturally from what comes before. A reader may not formally analyze the logic, but they are sensitive to its absence. If gaps appear, even subtly, the argument begins to lose its momentum.

Expression completes the work. Readers need more than a didactic explanation. They need to see what is being described (in fiction this is called “show don’t tell”). Carefully chosen anecdotes or word pictures allow ideas to take form, making them easier to grasp and retain. Think of the works you have read lately that had impact. I suspect there were strong, even poignant, images and narrative that underscored the point the author was making.

These three elements do not work independently. Trust strengthens reasoning, reasoning gives substance to expression, and expression makes reasoning vivid, even visible. When they work together, the writing does not require unnecessary or extra words.

The post The Art of Persuasive Writing Series (4 of 7): What the Reader Is Listening For appeared first on The Steve Laube Agency.

Instead of our usual “Fun Friday,” it is appropriate to reflect on the sovereignty of God, who is never surprised by the wickedness of men, but still loves us and has provided for our redemption.

Take a moment and let this song sweep over you. It’s based on the oldest surviving Christian hymn ever found. Read the article about its origins at this link.

The post A Day of Remembrance appeared first on The Steve Laube Agency.

Each CD included an insert referring to a documentary series by Ken Burns. I haven’t seen the documentary, but I’m familiar with Burns. I chose the particular CDs because each contained recordings of jazz greats, such as Duke Ellington and Ella Fitzgerald.

These CDs were a sure hit for my father-in-law, who was a:

1. Documentary fan.
2. Ken Burns fan.
3. Classic jazz fan.
4. PBS fan.
5. Kansas City native.

What about You and Your Branding?

First, your fans love books. Reading or listening to books is how they spend a good portion of their leisure time.

Second, Ken Burns has a well-earned reputation for excellence. Take this instance. Recorded music from the early part of the 1900s may not offer the best sound quality. Buying music you’re excited about only to hear hisses and cracks can be deflating. I can attest that the recordings on the CDs I now own are of superior quality. To bring this factor into focus for you, always strive to deliver your best book every time so your growing audience will never be disappointed. So while no author begins with a stellar reputation built over many years, a first-time author can start out strong and keep the quality eminent.

Third, your fans may be voracious readers of the type of book you write.

Fourth, your fans may be plugged into your publisher’s marketing efforts. Many publishers stay in front of readers by showcasing their releases, so they’ll learn about your book first.

Fifth, some serendipity may be involved in your readers’ choice of your book. For instance, you may not know that some of your readers chose your book because of its setting, topics in the storyline, or other factors that reflect individual tastes. There is nothing you can control about serendipity. Just write your best book and enjoy the fans!

As a fan of the Sirius radio station Watercolors, I will now offer a contemporary jazz playlist to play as you write. You’re welcome.

First, it’s super easy to support our brother in Christ, Patrick Bradley. His smooth tunes will keep your fingers moving on the keyboard!

Narrow Path

Voyage

Road Trippin

Catalan

Out of Bounds

Other excellent tracks from great artists. Some of these include vocals!

From Blake Aaron, a professor at Cal Baptist University: Fall For You

Karrin Allyson: Life Is A Groove (Jordu) (Album Version)

Incognito: Lost Until I Want To Be Found

Lindsey Webster: By My Side

Philippe Saisse: The Girl With Botticelli Eyes

Which artists did I miss?

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