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.

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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.

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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.

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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.

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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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He has had a long and fruitful career. Over the years, Dan has worked on the business side of the industry, including marketing, sales, foreign and domestic rights management, audiobooks, digital publishing, and acquisitions.

He spent a significant amount of his career with Tyndale House Publishers from the early 90s to the mid-2000s. While there, Dan developed a wide-ranging perspective on the industry through involvement with hundreds of authors, thousands of books, and a love for the business. He has been with the agency since 2013, temporarily leaving in late 2018 to focus on a publishing-related venture he owned, and returning in early 2021.

Dan served on the board of the Evangelical Christian Publishers Association, the trade association for Christian publishers in the U.S., and chaired the Global Publishers Alliance, a group of U.S.-based publishing executives that mentors Christian publishers in other countries. He was an original member of the advisory board of the Christy Awards (now part of ECPA) and helped train and mentor Christian publishers through Media Associates International (www.littworld.org). He also recently organized and ran the Write to Publish conference for two years. As an agent with the Steve Laube Agency, he has represented numerous authors and helped nurture hundreds of books into the industry.

A few months ago, when Dan first broached the topic of retirement with me, he felt it was time to focus on his family and church activities after almost 50 years in Christian media, starting back in his college days at Wheaton College. Other than hitting the milestone of his 70^th birthday, there were other considerations:

— Dan’s wife retired from working in the local school district, and now they will be able to travel a little, mainly to see grandkids living out of state and some National Parks.
— By early October, they’ll have three grade-school granddaughters living a block away.
— Involvement in the centennial celebration planning committee for their church, which Dan and his wife have attended for 47 years.
— The church asked Dan to be on the leadership team for their men’s ministry of about 300 men.

Family, church, and other productive and fun pursuits like working for the game management staff for Wheaton College football and basketball games, which he has done for 20+ years, will redeem the time.

Dan said, “I’ll definitely miss working closely with people in the publishing industry. It has been an honor.”

I personally have enjoyed working with Dan for the last thirteen years. He is a dear friend, a man of great integrity and dignity, and has a great sense of humor. He has been a tremendous colleague, friend, and mentor to so many authors. We will all miss his commitment to bringing powerful messages of redemption and hope to the largest possible reading audience.

Please join me in expressing deep gratitude to Dan for his significant and valuable contributions to our Christian publishing industry over the years, and in wishing him and his family all the very best in the years to come.

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I appeal to you therefore, brothers, by the mercies of God, to present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship. Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect. Let all bitterness and wrath and anger and clamor and slander be put away from you, along with all malice.

Be kind to one another, tenderhearted, forgiving one another, as God in Christ forgave you, until we all attain to the unity of the faith and of the knowledge of the Son of God, to mature manhood, to the measure of the stature of the fullness of Christ. Stand firm, and see the salvation of the Lord, which he will work for you today. Whatever you do, do all to the glory of God.
(Romans 12:1–2; Ephesians 4:31–32; 4:13; Exodus 14:13; 1 Corinthians 10:31)

RUMINATE

“I need to be so utterly God’s that he can use me or hide me, as he chooses, as an arrow in his hand or in his quiver. I will ask no questions: I relinquish all rights to him who desires my supreme good.” —Helen Roseveare

“Never allow anything to deflect you from insight into Jesus Christ. It is the test of whether you are spiritual or not. To be unspiritual means that other things have a growing fascination for you.” —Oswald Chambers

“Often when we approach the altar to pray our hearts are dry and lukewarm. But if we steadily persist, grace comes suddenly as a flood upon us, our breast grows full of increase, a wave of piety fills our inward heart.” —Bernard of Clairvaux

“The first step in conforming our intellect to God’s truth is to die to our vanity, pride, and craving for respect from colleagues and the public. We must let go of the worldly motivations that drive us, praying to be motivated solely by a genuine desire to submit our minds to God’s Word—and then to use that knowledge in service to others.” —Nancy Pearcey

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

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I tried to enable closed captions, but if the lyrics don’t appear, you can find them under the video on YouTube at https://www.youtube.com/watch?v=S8fKjItF-j0.

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This is the second time she has received this honor!

I can personally attest to Tamela’s abilities and her success. She works extremely hard and loves her clients. Few in our industry can match her understanding of the Christian romance genre. I am so proud to have her as part of our agency.

Join me in giving her hearty congratulations!

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A persuasive argument, therefore, requires a clear and deliberate shape. The opening establishes orientation by showing what is at stake and why it matters. This does not require elaborate language or artificial clickbait urgency. The reader should be able to understand, right away, what is being addressed and why it deserves careful thought. In that sense, the task resembles the instruction to “make it plain” so that it can be readily grasped (Habakkuk 2:2).

From there, a presentation develops through steady progression. The central idea is introduced and then expanded with care, each paragraph building upon what has already been established. Transitions can serve as an internal GPS of the piece (turn here, turn there), guiding the reader from one thought to the next and ensuring a smooth ride. When transitions are neglected, the writing feels abrupt (a dead end). When they are handled well, the argument makes more sense.

The hardest part of any book, or speech, is the middle. This is where many writers begin to lose focus, often by introducing tangents that, while interesting, do not serve the central point. If you are not careful, the listener will start daydreaming and the reader will find something else to read. But, a cohesive and powerful idea, laid out and supported with well-chosen words, will serve you better than several ideas competing within the same space.

As the argument approaches its conclusion, the writer begins to gather what has come before. Nothing new needs to be introduced. Instead, what has been well established becomes reasserted in digestible form. The reader sees the point and its significance without having to reconstruct it.

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There’s really only one response to just about every question, and it always comes down to competition in the publishing world.

Why are agents so difficult to connect with? Competition. This agency receives several thousand proposals each year from aspiring authors; and among the five agents, we offer representation to less than 1%.

Why are traditional publishers so hard to crack? Competition. Most of the books they publish each year are from experienced, proven authors. For the few openings allocated to new authors, each will receive dozens of proposals for publishers to consider.

Why is an author platform such a big issue for everyone? Competition. You are competing for attention with authors who embrace the platform requirement and flourish with it. A solid author platform reduces the financial risk of publishing.

Why is it hard to sell your book? Competition. There were four million books published in 2025 (according to Publishers Weekly). That’s 11,000 per day.

Why is it difficult to gain traction with podcasts and YouTube channels? Competition. There are millions of podcasts worldwide and over 100 million YouTube channels. That’s channels, not videos. There are about 20 billion videos on YouTube, with around 7,500 more uploaded during the time it takes you to read this blog post.

Christian publishing is competitive. Publishers compete for authors, books, sales, and employees. Agents are also part of this same competition.

Christian ministries compete for attention with other ministries. Christian colleges compete with one another for students. And, yes, Virginia, even churches compete with one another.

Trying to explain why things are the way they are without actually getting to the real issue only delays reality from setting in. The presence of competition explains a lot, maybe everything.

Even the apostle Paul wrote this about the Christian life in general:

Do you not know that in a race all the runners run, but only one gets the prize? Run in such a way as to get the prize. Everyone who competes in the games goes into strict training. They do it to get a crown that will not last, but we do it to get a crown that will last forever. Therefore I do not run like someone running aimlessly; I do not fight like a boxer beating the air. No, I strike a blow to my body and make it my slave so that after I have preached to others, I myself will not be disqualified for the prize (1 Corinthians 9:24-27, NIV).

Why do you think the biblical metaphor of the armor of God in Ephesians 6 is protection and weaponry for competitive battle? The Christian message is a battle cry since the world considers it foolishness. In this fallen world, every endeavor is a competitive pursuit; except for Christians, it isn’t against flesh and blood. Knowing that should focus your approach.

Publishing is for those unafraid of competition. The friction-based process alone will mature your faith. It is both challenging and worth it.

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• earn its place
• move the story forward
• reveal character
• increase tension
• change the reader’s understanding
• or set up and pay off something important.

So, how do we make that happen?

Before revising a scene, ask yourself these three basic questions:

What does the character want?
What stands in the way?
What changes by the end?

If you can answer those questions, your scene probably has direction. If you can’t, the scene may have issues.

Let’s look at the first question. It’s fairly simple, right?

What does the character want?

Your character may want to escape a burning building, find a missing child, get a confession, hide a secret, avoid an argument, make a phone call, or survive dinner with her mother.

A scene becomes stronger when the reader understands what the point-of-view character is trying to accomplish. Even if the character doesn’t fully understand her own deeper need, she should want something in that moment.

Without a goal, a scene often becomes a collection of conversations, description, memory, and movement. Things may happen, but the scene lacks drive. And if you have a bunch of those, an editor is liable to label your story episodic.

The second question is:

What stands in the way?

This is where tension comes in. The conflict.

The obstacle may be external: a locked door, a storm, a villain, a deadline, a missing file, a suspicious police officer, a flat tire.

It may be relational: a friend who won’t tell the truth, a love interest who asks the wrong question, a parent who refuses to listen.

It may be internal: fear, pride, grief, guilt, doubt, or the lie the character believes.

Often, the best scenes have more than one obstacle. For example:

• The heroine needs information from the detective, but she doesn’t trust him.
• The hero needs to apologize, but admitting fault may cost him something he can’t afford to lose.
• The witness to the murder wants protection, but telling the truth may put someone else in danger.

The third question is:

What changes by the end?

This may be the most important question.

A scene should not end with everyone emotionally and practically in the same place they were at the beginning. Something should change, such as:

• The character learns new information.
• A relationship warms or splinters.
• The danger increases.
• A choice is made.
• A secret is exposed.
• A plan fails.
• A fear becomes harder to ignore.
• A lie begins to be revealed.

You get the idea. Whatever the case, the change can be small, but it should matter.

Here’s an example:

A woman goes to her brother’s house to ask for help.

Okay, that’s a start, but it needs shape, right? Let’s go to our three questions.

What does she want? She wants him to loan her money.
What stands in the way? He knows she lied about why she needs it.
What changes? He refuses the money but gives her a key to their late father’s storage unit and tells her she can start cleaning that out because he’s tired of paying the monthly payment. He’ll give her some money if she’ll do the work. She agrees and, in the process, finds something she was never meant to see.

Now the scene has movement, tension, and change.

These three questions are not a formula meant to flatten or disrupt your creativity. They’re a diagnostic tool. They help you see whether a scene has a reason to stay in your story.

Next time, we’ll look at why some scenes still feel flat—even when they’re technically well written.

Take a look at your scenes and let me know if these three questions helped you spot something you needed to change—or delete.

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Think of it from the reader’s perspective. Imagine you are the reader. You approach a piece of writing with your framework already in place. That framework, unique to you, has been formed over time through experience, reading, and reflection. It includes some beliefs already determined, some conclusions that remain tentative, and questions left unresolved. None of these disappear when you begin reading new arguments. Instead, they interact with text and influence your reception.

For that reason, persuasive writing is more than just presenting an idea clearly. It requires understanding how that idea will be encountered. Rather than attempting to replace the reader’s thinking all at once, the writer builds from what is already there. Shared convictions become points of agreement, and the argument develops in a way that feels connected, rather than combative. This approach allows the reader to move forward without building defensive walls.

At the same time, the writer must anticipate objections that may arise along the way. Many of these objections remain unspoken, though they exert a steady influence. Bringing them into view and addressing them with care strengthens the argument and demonstrates integrity, echoing the kind of reasoning seen in Acts where Paul “reasoned with them from the Scriptures” (Acts 17:2).

This process requires patience. Unfold the material gently so the reader can see how each idea connects to the next. When handled well, persuasion feels like guidance, like a fellow traveler showing the way forward.

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