Into the Fire

The Conundrum of Readers or "What Readers Want" . . .

 

Part Two

 

The limos v. the ordinary rigs . . .

 

There is no question that Christian fiction reaches a specific audience. Mixed in with that specific audience are those who want more from the genre. Amidst both groups are the “ordinary rigs” readers. They’ve sampled the offerings of CBA and over time have grown tired of the same old, same old. The little sprints into fantasy and sci-fi, “men’s” novels, and those stories which the limos insist don’t sell in CBA do not reflect a huge resource of readers who shop online or in the Barnes & Noble or Borders stores. They reflect a diminishing number of consumers who go to the “Bible bookstore” to find their reading material.

 

The limos think they’ve bonded with their audience when in fact they’ve bent and mutilated stories to fit into what they assume their readers want. By so doing they’ve catered to that select number—which is not small within this industry—but in fact is limited. They’ve chosen to address the other varied and inestimable audience as “not a good fit for us”. In other words they’ve ignored them/us.

 

Almost everyone I spoke to at my local writers’ conference last year wrote fantasy. Fantasy at a Christian writers’ conference! Were they so naïve as to not understand that “it doesn’t sell well” in CBA? Or was it that they believed the great number of fans in all of current literature could support their work?

 

There is an element of the tried and true readers who do not require anything more than “the same”. Good for them because there’s plenty of it. And they should have it. But make no mistake: they’ve been pegged and accommodated by those who think they know what readers want: a formula with specific plots and ordered writing. The facts probably run closer to this: give them a good story and they could care less how it’s written. That’s why they’re satisfied with formulaic, predictable fiction in their chosen genres.

 

Isn’t that what all readers want? A good story? Well. Yes and no. A bunch of other readers embrace unique styles, different voices, unusual approaches, meaningful characters covered in depth, to name a few characteristic choices of those shunned readers. I could name the current writers in CBA who offer these things, but what’s the point? The fact that they’re out here offers hope to some that the veil might be tearing. Right?  

 

 

God, I’m here in this place where you have me. Waiting on you. I’m desperate for you. In the Name of Jesus, Amen.

The Conundrum of Readers or "What Readers Want" , , ,

 

Part One

 

I’ve long thought the publishing establishment tours the industry in a limousine while purporting to publish for those in Ford SUVs and Honda Civics. This has nothing to do with the sums of money professionals at any level in the industry earn. Instead it refers to the sense of aristocracy or sophistication that can exist at the upper tiers of publishing fiction, and, yes, I’m including Christian fiction in the mix. The idea that publishers are one with their reading public stopped making sense when it became common knowledge that their bestsellers fund the way for all the rest of their authors, and when it was admitted that over 60% of their authors don’t earn back their advances. Two obvious reasons for that? One: the advances might be too high. Two: the public either didn’t like the books or were unaware of their existence.  

 

The conundrum of finding a focus or “mission” for an individual publisher is perhaps as difficult and illusive as the efforts of writers trying to define their “brand”. And then, once having arrived at an audience, do the visionaries plan how to reach those outside their faithful consumers?

 

Readers are a funny lot. They can be particular and narrow in their choices for fiction. They might be eclectic and read in multi-genres with great fondness for all. Some prefer those literary rarities which sparkle with insightful premise and prose while others strictly adhere to fast-moving action and thrills. Other readers crave fairy-tale romance while others just desire fairy-tales.

 

Setting aside genre preferences, here’s the real conundrum for publishers: elevating or degrading readers. No one in a correct mindset would assume all readers to be alike. Equal in importance only, the factors which contribute to how readers read and what they choose for their favorites—what they’re willing to purchase either in book form or now in e-readers—are as diverse as the earthly pockets of residence of each reader. From Singapore to Seattle the contributions of who a person is, who they choose to be, how they live and why, all figure into book selection. Yet it’s no surprise when any two readers from different stations in life and separated by country and culture might agree on a book they like—or dislike.

 

So. Should publishers publish for those who might have simpler tastes and for those who lean toward the literary projects? We’re talking about readers here, not writers. I think it’s wise to publish for both if you’re big enough. I think it’s admirable if a small press narrows its focus to those it wishes to serve. I think it’s poppycock for any publisher to insist that only the best get published under its watch because we all know the favorite colloquialism for that tripe.

 

Any thoughts on Part One?

 

 

Lord, you are worthy of praise. It’s you we serve. Help us to remember that. In the Name of Jesus, Amen.

 

Sunday's Offerings

 

In my former book, Theophilus, I wrote about all that Jesus began to do and to teach until the day he was taken up to heaven, after giving instructions through the Holy Spirit to the apostles he had chosen.

Acts 1:1-2 (NIV)

***WARNING: Political Post***

 

If anyone else had written it, it would be considered extremely racial, but since Star Parker is black and admittedly a product of the "welfare state," it is acknowledged as a person speaking from experience.

Back on Uncle Sam's plantation

Star Parker - Syndicated Columnist

 

 

 

 

Six years ago I wrote a book called Uncle Sam's Plantation.  I wrote the book to tell my own story of what I saw living inside the welfare state and my own transformation out of it.  I said in that book that indeed there are two Americas -- a poor America on socialism and a wealthy America on capitalism.  I talked about government programs like Temporary Assistance for Needy Families (TANF), Job Opportunities and Basic Skills Training (JOBS), Emergency Assistance to Needy Families with Children (EANF), Section 8 Housing, and Food Stamps.

 

A vast sea of perhaps well-intentioned government programs, all initially set into motion in the 1960s by Democrats, that were going to lift the nation's poor out of poverty.

 

 

A benevolent Uncle Sam welcomed mostly poor black Americans onto the government plantation.  Those who accepted the invitation switched mindsets from "How do I take care of myself?" to "What do I have to do to stay on the plantation?"

 

Instead of solving economic problems, government welfare socialism created monstrous moral and spiritual problems -- the kind of problems that are inevitable when individuals turn responsibility for their lives over to others.

The legacy of American socialism is our blighted inner cities, dysfunctional inner city schools, and broken black families.  Through God's grace, I found my way out.  It was then that I understood what freedom meant and how great this country is.

I had the privilege of working on welfare reform in 1996 which was passed by a Republican controlled Congress.  I thought we were on the road to moving socialism out of our poor black communities and replacing it with wealth-producing American capitalism.

But, incredibly, we are now going in the opposite direction.  Instead of poor America on socialism becoming more like rich America on capitalism, rich America on capitalism is becoming like poor America on socialism.

Uncle Sam has welcomed our banks onto the plantation and they have said, "Thank you, Suh."  Now, instead of thinking about what creative things need to be done to serve customers, they are thinking about what they have to tell Massah in order to get their cash.

There is some kind of irony that this is all happening under our first black president on the 200th anniversary of the birthday of Abraham Lincoln.  Worse, socialism seems to be the element of our new young president.  And maybe even more troubling, our corporate executives seem happy to move onto the plantation.

In an op-Ed on the opinion page of the Washington Post, Mr. Obama is clear that the goal of his trillion dollar spending plan is much more than short term economic stimulus.  "This plan is more than a prescription for short-term spending -- it's a strategy for America 's long-term growth and opportunity in areas such as renewable energy, healthcare, and education."

Perhaps more incredibly, Obama seems to think that government taking over an economy is a new idea.  Or that massive growth in government can take place "with unprecedented transparency and accountability."

Yes, sir, we heard it from Jimmy Carter when he created the Department of Energy, the Synfuels Corporation, and the Department of Education.

Or how about the Economic Opportunity Act of 1964 -- The War on Poverty -- which President Johnson said "...does not merely expand old programs or improve what is already being done.  It charts a new course.  It strikes at the causes, not just the consequences of poverty."

Trillions of dollars later, black poverty is the same.  But black families are not, with triple the incidence of single-parent homes and out-of-wedlock births.

It's not complicated.  Americans can accept Barack Obama's invitation to move onto the plantation.  Or they can choose personal responsibility and freedom.

Does anyone really need to think about what the choice should be?

"The trouble with socialism is that you eventually run out of other people's money."

 

Reprinted from: http://townhall.com/columnists/StarParker/2009/02/09/back_on_uncle_sams_plantation

Could it be?

 

Jesus gave us a specific instruction reminding us that we are “in” the world but not to be “of” the world. In other words: this is your temporary home. Live in it, engage the people, show and tell them about me, be wary of its sinful attraction and don’t let it capture you with all the pretty trappings and the fun side of sin. Because we all know there’s a fun side to sin. If there wasn’t, why would anyone participate and why would it be so difficult to resist? 

 

So, why do some Christians read secular fiction? I know exactly why I read it, but that can wait.

 

The primary reasons in Christian writing circles for reading secular fiction are to keep abreast of the general market and its trends, to be well read, to enjoy the writing skills of favorite secular authors, and to read those genres where there are little to be found in the CBA books, i.e. fantasy and sci-fi.

 

The most stated reasons for Christians who are readers (and writers) for their secular market tastes are the following:

 

Christian fiction is inferior.

 

Christian fiction is too preachy.

 

Christian fiction is too predictable.

 

Christian fiction is too “positive”, unrealistic—there’s always a happy ending and everything works out when you get saved.

 

Christian fiction never portrays the Christians as struggling with or being in sinful situations. They’re always the “good” characters.

 

The truth of the matter is this: All of the above can be true in Christian fiction, but those reasons have a mirror image or evil-twin reasons in general market fiction in that some of it is inferior, preachy as to whatever their agenda is, predictable to their cause and formula, too negative: nothing works out yet nothing changes to make things better, i.e. hopelessness reigns, and sin can be exalted either in the portrayals of the character lifestyles or in the no remorse/punishment for sinful behavior.

 

Now as one of the Brendas who visits here has stated, she reads secular fiction because she can’t find the specific genre (historical non-romance) much if at all in CBA books. She’s diligent in her searches and mostly comes up empty. As a believer, she would prefer to read Christian novels, but her tastes leave her few choices. So she writes in the genre she’d prefer to read.

 

 

I think it’s safe to say that some Christian readers who’ve abandoned Christian fiction for the secular market probably haven’t read much of what’s offered in present day Christian fiction. They’ve read a couple of authors and got turned off by them and don’t want to waste their reading time with any more of the same. Their assumptions that the rest of Christian literature is most likely the same as the limited examples they’ve experienced are enough to keep them from venturing into the market again.

 

As our other Brenda who visits here has pointed out, she’s known members of her church who didn’t realize there were Christian novels available even though they’re avid readers.

 

Just for speculation . . . Do you suppose there are some Christian readers (and writers) who’ve chosen secular fiction because it’s a “safe” way to dabble in what the world offers? They’ve become a little bored with the portrayal(s) of the spiritual life in stories, perhaps resenting a character who’s strong in his/her faith and able to withstand temptation in climactic situations. Perhaps the risqué factor allows them to experience a sinful lifestyle without doing them any harm—at least physically. Just a thought.

 

There’s talent in either market. Some Christian readers prefer “clean” fiction, some would say sanitized, and others prefer their novels more “real” or “raw” (not graphic) of which there are few in the romance and women’s fiction categories in CBA offerings.

 

 

God, your message comes in so many wonderful ways—even through your gifted storytellers. Help those of us who write give you ample words with which to work. May we honor you in all we write. In the Name of Jesus, Amen.

 

Unusual . . .

 



When I was young, I loved Neil Young’s and Bob Dylan’s music. If we’re honest, neither one of them has a particularly great voice. Of all their extensive musical talent, their unusual voices aren’t at the top of the list. But somehow they worked for the music they played. Mixed with their imaginative, often poetic and haunting songwriting, and their abilities as musicians, their voices became a unique complement to their overall work.

 

As with music, so it is with writing in a kind of opposite way. The voices of writers aren’t often unusual, but sometimes their stories overcome that lack of uniqueness. Their strengths are in their storytelling rather than how they present the stories. It could also be said that sometimes the outrageously unusual voices clang out a story that lacks a certain vitality and substance no matter how imaginative or poetic the language. When we as readers find an author with both the ability to tell a great story added to his/her sterling voice, we tend to gravitate to everything they produce. 

 

Needless to say, the appeal is subjective. A literary expert (whatever that is) could critique both story and voice according to whatever set or era of rules they choose. Whether or not anyone agrees or disagrees with their measures or their decisions ends up rather irrelevant if the buying public decides the novel is the best thing since white bread—or perhaps nowadays it’s whole wheat bread. Trends and fashionable authors emerge out of every generation. So far, the well known classics are as diverse as the opinions of those who’ve determined the novels to be categorized as such. Let it also be said that oftentimes the judges are as fickle, persnickety, and hypocritical as they accuse the reading public of being.

 

Vince Flynn created his CIA/Political thrillers and gave them an incredible hero in Mitch Rapp. What Vince might lack in pure literary skills he more than makes up for in poignant storytelling skills. I don’t read a Vince Flynn novel to worship the prose, I read it because I’m going to get a dynamite, realistic, and highly researched story that’s unafraid of political incorrectness.

 

“Voice” is often explained—or attempted to be explained—by numerous professionals. Those uninitiated writers who need a black and white or cut and dried formula for voice miss the whole point of identifying it. When it’s not unusual, it doesn’t stand out and must be reinforced by a scintillating story. When it’s somewhat unique and recognizable, a good story should always accompany it. When it’s highly unique, once again an excellent story must complement it. Both as readers and writers we appreciate certain styles, particular voices, types of stories. What’s unusual and appealing to some of us might make others tsk, carp, and utter disapproval, but who cares? Truly there’s something to love and appreciate at every level of the writing and reading game. Or rather there’s something somewhere in the publishing industry for people to read and enjoy. It might be hard to find, but it’s probably there. And since we are the ones writing what we want to read or shelling out our dollars to read what we want, ultimately it’s our opinion that counts. Unusual or not.

 

 

Father, you are unusual. You are love. I can’t fathom you, Lord. Too big, too magnificent, too . . . beyond the usual. I love you, Lord. In the Name of Jesus, Amen. 

And the winner is . . .

 

Number 8: Tim Moore!

Tim Moore, I will be forwarding your information to Mike Duran when you return my email, and he will be mailing you a signed copy of his first release The Resurrection.

*Disclaimer: I folded up numbers and put them into a baseball cap. An impartial (and half asleep) person reached into the hat and pulled out the number eight. I wish you could all receive a copy. Thanks so much for participating. For another chance to win a copy, check out Tim George's Unveiled blog. (See left side panel for his blog reference.)

Fiction, Fame, and Film

 

Many people desire to write a book. Some think their lives worthy of memoirs, others want to charge into make believe to write that novel no one can put down. Others love to escape into a film—noir, comedy, romance, adventure, science fiction. Most people enjoy fiction and/or film.

 

Few experience fame. With the Academy Awards approaching, we often observe the various demonstrations of fame and fortune displayed in sometimes radical showmanship, dress, conduct, and flair, but rarely do we see a lot of humility. Oh we listen to the lists of thank-yous, the abusive political statements, or the dramatic exclamations and tears of a few, but we rarely hear acknowledgment given to the One who designed their talent and planted it in their hearts.

 

In The Famous One an ordinary, lonely boy grows up in a home where his parents struggle with financial problems and each other and offer virtually no guidance to their four children. Their youngest son, Joey Parr, captivates female attention at an early age and yearns for love, stability, and a solid family. Slipping effortlessly into smoking, sex, alcohol and drugs, he feels the emptiness of his lifestyle and relationships as a constant reminder to his disconnect from real happiness. With no idea how to find what he truly wants he lives his life reading his favorite detective novels, watching movies, and holding down a job in a grocery store. Until a Hollywood director approaches him with an opportunity to read for a small role in his film . . .

 

This story is written in three parts. The first part of Joey’s life is chronicled in the omniscient point of view—which simply means the reader is observing his life almost through a narrator’s eyes. Think fictional biography. This point of view shifts as he ages and becomes the “normal” third person story most people are used to reading.

 

I always caution readers that this is not generally a novel for those who like sweet romances or Amish tales or books which don’t include the lifestyles of the lost in any detail. While this story is by no means graphic, it is frank, probably considered “edgy” or “raw” to some readers, but it is ultimately redemptive. If readers need to know what others have experienced from this novel, I would refer you to this post on my blog:

http://hopeofglory.typepad.com/into_the_fire/2009/02/the-academy-awards-.html or this review by Josh Olds: http://christian-critic.blogspot.com/2010/02/famous-one-nicole-petrino-salter.html.

 

A small portion of this novel is semi-autobiographical. Having spent a good portion of my life “in the world”, I know firsthand what it’s like to be “lost”, empty, and searching for meaning in a meaningless maze of secular philosophies. This story was spawned from an actual intense burden of prayer for a specific actor which lasted for approximately two years. Running parallel with that experience I wrote this novel.

 

For those of you who are intrigued by fiction, fame, and film, check out Joey’s story in The Famous One.

 

 

 

God, thank you for giving me the words to write this story, the burden to pray for the actor I came to love through your eyes and heart in real life and in this story. In the Name of Jesus, Amen.

Making a . . . Fatal Judgment

 

I’ve reviewed Irene Hannon’s Heroes of Quantico Series (Against All Odds; An Eye for an Eye; In Harm’s Way) on this blog. Incorporating some of those heroes into her new Guardians of Justice Series, Fatal Judgment brings a fresh set of heroes for the readers of romantic suspense.

 

U.S. Marshal Jake Taylor is assigned to guard his dead best friend’s (Doug) wife, Elizabeth (Liz) Michaels, a federal judge who’s just returned home to find her sister murdered in her living room. Jake has no fond memories of the woman he’s only met a couple of times due to the sketches of her made to him over the last few years by her husband over the telephone, painting her as a cold and driven woman who cared more about her career than she did about Doug.

 

It doesn’t take too long before the police detective (Jake’s brother Cole), the US Marshals, and the FBI discover the real target was Liz. Leaving only one golden feline hair as evidence, the investigators discover the killer is precise, intentional, but mistaken in his kill from behind the victim.

 

The judge is shaken, grieving, but strong and cooperative as Jake and her protection relocate her and put her to work on her past cases which might lead them to the perpetrator before he makes another attempt on her life. As she works to be helpful, Jake learns the woman is nothing like the portrait painted by his troubled friend, and his attraction to her grows uncontrollably as he fights to remain professional in their contacts.

 

Jake’s a widower who lost his shallow faith at the death of his wife. In spite of her tremendous pain, Liz clings to God, knowing He’s her only way back to a “normal” life.

 

Veering off midway to connect us to the killer’s life and motivation, we see his meticulous efforts to carry out his personal “patriotic” plan to eliminate his idea of a corrupt judge. Perverting the mission of the right to “bear arms” and support the Constitution, the self-absorbed perp blames Liz and the government for his woes. I felt there were a few plot points that came a little too conveniently—albeit cleverly done—to lead to the discovery of this killer.

 

Irene’s writing is clean with little amplification, and she follows a narrow formula for romantic suspense giving her protagonist and heroine likable qualities and appeal while keeping the UST going strong until they both succumb to their mutual attraction and dump the formalities. Fatal Judgment typifies the genre and rates as solid commercial Christian Fiction.

 

 

 

 

Father, there’s no question Irene writes to bring you glory. I pray you would continue to bless her with stories that give credit where credit is due. Watch over her and direct her steps. In the Name of Jesus, Amen.

Reacting to . . . The Resurrection

 

Cyber friend and “new” author Mike Duran celebrates the release of his first novel, The Resurrection. Published by Strang Communications, the Realms division, and set for its in-store release on February 1^st, this “haunting” story is sure to satisfy a variety of readers from the spiritually speculative fans to the suspense lovers. The cover and title are perfect for this story, making for an enticing come-on.  

 

Intelligently written, Mike’s research reminds me of that done by Robin Parrish for his novel Nightmare, and the “Afterword” included for readers takes a slightly similar tone and evaluation to that of Robin’s. Readers of supernaturally speculative fiction will love The Resurrection.

 

Call me a sap but Mike’s Dedication brought tears to my eyes, and his Acknowledgements page did the same.

 

Mike takes a calculated risk when he introduces us to the Reverend Ian Clark, making him a prominent character in this story. A spineless, faithless agnostic “pastor”, he does little to gain our acceptance, and we’re seriously hoping he gets out of the ministry when we learn that’s his intention. When one of his faithful parishioners, Ruby Case, a handicapped housewife and mother, innocently touches a dead young man in his coffin resulting in his resurrection, all hell literally breaks loose. However, the power unleashed at that funeral sets the stage for Reverend Clark and the rest of the small town to take their stands and choose who it is they believe and ultimately who they will serve. The reactions to this startling miracle run the gamut from absolute denial to idolatrous worship of Ruby and most everything in between.

 

Spectral manifestations, visions, curses, resurrections, altars of adoration, unrealistic demands on Ruby from herself and the community, the bold adventures of her best friend and prayer partner Vinyette, an autistic child prophet, and a pantheistic professor, all make for a rollicking and escalating story which reveals a concise contrast of what the Christian church in their town (and perhaps universally) pretends to be to what it can and should be. Within this contrast we watch the antics of desperate people seeking healing from Ruby, Ruby’s husband Jack, disgruntled with the church and pastor, trying to protect her, and the Reverend Ian Clark resurrecting some courage and even a hint of inspiration while opening himself up to and facing devilish opposition.

 

The scene at one of the local occult shops visited by Ruby, Vinyette, and their third prayer partner Marje is so well done and hilarious, adding a brief oasis of humor to the accelerating suspense.

 

If you’ve visited Mike’s blog, you know he’s like a street-wise intellectual and a stickler for details. We—or I should say I—expected a good first effort from him and got one. The man who says he wants to write about “mer-people” (mermaids, etc.) gives us an interesting and entertaining story. You might think it starts a bit slowly, but it’s needed to establish the town history and work in the character backgrounds. The pace picks up steadily and intensifies toward the end. If you like speculative suspense with characters who come alive on the pages with their flaws and quirks, their strengths, their motivations, and their faith demonstrated no matter which side they’re on, you’ll enjoy The Resurrection by Mike Duran. 

 

 
 

 

 

Father, I pray your peace and order for Mike. I pray your direction and encouragement for his steps. I pray your divine assistance in all he does for your glory. In the Name of Jesus, Amen.    

 

CONTEST RULES: To win a signed copy of Mike Duran's The Resurrection, please leave a comment to this post. You may leave your comments here for today (Monday) and tomorrow. Winner will be drawn on Wednesday and posted Wednesday evening.   

 

Sunday's Offerings

 

Jesus did many other miraculous signs in the presence of his disciples, which are not recorded in this book. But these are written that you may believe that Jesus is the Christ, the Son of God, and that by believing you may have life in his name.

 

John 20:30-31 (NIV)

Contest Coming!

 

The review and giveaway of a signed copy of Mike Duran’s first novel The Resurrection is coming Monday, January 24^th, 2011. The Resurrection is set for release in stores on February 1^st.

 

All you’ll have to do to enter is leave a comment. You’ll be assigned a number, and I’ll draw the winner on Wednesday, January 26^th. One number per contestant. You have two days (Monday and Tuesday) to comment for an entry. Winner will be posted Wednesday evening.

 

Good story, and it’s always fun to get a signed copy.

 

 

Thank you, Lord, for Mike’s generosity to provide someone with the gift of a signed copy of his new novel. Blessings to him, Lord. 

The Ambiguous Average

 

Ambiguous: 1.Susceptible to multiple interpretation 2.Doubtful or uncertain

 

Synonyms: equivocal, obscure, obtuse, vague, cryptic, enigmatic

 

Average: (Discarding the mathematical definitions) Typical, usual

 

Synonyms: medium, mediocre, fair, middling, indifferent, run-of-the-mill, so-so, tolerable

 

Most of us remember how to establish an “average” when presented with several numbers. We recognize it’s the general middle of those numbers after conceding the high and low ends of examples. That average could be accused of being ambiguous, especially when the high is very high and the low is very low.

 

We’ve talked here numerous times about “the average reader”. I don’t think we’ve ever talked about “the average writer”. Far more difficult to quantify unless we take inventory of a specific group of average readers and tally up their favorite authors. Might that work to establish an ambiguous average?

 

I have talked to many, many readers of all kinds of genres. Likewise, I’ve talked to my share of writers, also of many kinds of genres. There is a significant gap—more like a chasm—between what a reader expects or desires and what a writer expects to deliver as well as what a writer expects or desires. I think it’s safe to say there might even be another even bigger chasm between what a lot of readers and writers expect and desire and what a publisher is set to deliver. In fact, occasionally it’s like selling the late 60’s cause and effects to those of the late 80’s crowd. Not an easy sell. Why? Because they can’t really relate.

 

I’ve been fairly outspoken concerning what I feel is a disconnect between publishers/booksellers and the bigger needs of an untapped audience. With the discourse on this blog about desired change in the Christian publishing industry made not only by readers, writers, and a number of professionals in the biz, it’s fairly obvious there are a lot of people who aren’t getting what they desire from CBA. Now how many “a lot” actually is must not be considered worthy of speculation by some of the powers that be evidenced by the reluctance to grow and expand their product to reach these consumers—at least not in a timely manner.

 

Visionaries assess the climate of business and dare to be bold in their ventures. So we all know it’s a rough economic time which will probably persist until 2013 when some of the government spending can be eliminated and reduced. Hopefully. Now many businesses stick with what they’ve offered, reducing some prices, and hold steady in hopes of better times in the future. But visionary businesses look to gain new appeal and carefully amplify their reach, hoping to attract those who’ve never tapped into what they have to offer by expanding their product line. In doing so they gain an additional clientele by offering more to many while still keeping what they’ve got for those who’re used to their basics.

 

We see some evidence of “visionary” in CBA publishing with Broadman & Holman, Thomas Nelson, Hachette Book Group in their FaithWords imprint, and occasional bumps from other CBA publishers but the slight evidence doesn’t calculate to real vision nor to profit nor to any change in public rhetoric from Christian publishing. And most of these publishers have chosen to do their versions of trendy Amish fiction to cash in on that market share. Not blaming them for that. In fact, I’m not blaming them for anything really. It’s just disappointing that they can’t see beyond the appeal to this ambiguous average audience to reach the rest of potential readers.   

 

 

God, you are sovereign. Nothing is news to you. You know past, present, future. You lead. When we’re in the right place, we follow you. In the Name of Jesus, Amen.

Sour.

 

When a racehorse with talent begins to decline in performance, sometimes the term used to describe their behavior is “sour”. Horses without talent get that way too, but it’s far more noticeable with those who’ve been consistent performers than with those whose ability is hard to track.

 

“Sour” means the horse is no longer enjoying his work, the scene, and racing overall. This can be due to multiple causes, but really it’s mostly due to fatigue brought on by those multiple causes. His personality changes slightly, noticeable to those who truly observe and care about the animal, and those who do will give that horse a break. Take him/her to the farm for awhile. Stop training the horse. Give him a different regimen to freshen him up.

 

I’m approaching that description (sans the talent self-application). Recently I disagreed somewhat strongly with a professional on a blog where everyone else gushed about the “valuable” information being handed down to them even though it’s old news and has been stated innumerable times on nearly every other professional’s blog at one time or another for years! The reply was polite but reiterated the truth of the conclusion citing another current example of plying just such a novel to publishers without success.

 

So. I’m sick of it. All of the platitudes, the locked-in, vision-less approach to Christian fiction which keeps it barely able to climb over the sides of the big box like some free kittens inside cardboard the size of a washing machine. We get limited exceptions of wonderful writing and innovative stories, styles, and voices, but, it seems, only in certain genres.

 

This champion of Christian fiction, this fan of Christian fiction, this encourager of published and pre-published Christian fiction authors is borderline mad. Sour. Not frustrated as my words were interpreted. Maybe nauseated. Maybe irritated. Maybe dissatisfied and disgusted. But really not frustrated.

 

Frustration is not the answer. Call me stupid, but I believe in variety and good business practices. I believe in the various publishers’ rights to choose their criteria for producing books. It’s their money, time, energy, and resources. However, just because it’s been said that the publishing industry moves like a big s l o w ship of old not a jet ski doesn’t mean that sometimes those old ships don’t need to be dry-docked.

 

I’m weary of the warnings of what it’s alright to say because the publishing world is small, and it can all come back to bite you. Well . . . bite me then. With some reasonable new outlook(s), explanations, something. Please.

 

I suppose this falls into the complaint department, but it has little to do with me. It has to do with the overall approach to this industry. How many years have I been reading the exact same responses to readers and writers seeking more from the CBA? And the answers haven’t changed! Haven’t changed in all these years!

 

And just to make sure I’m understood here: This is not a rant about any of the CBA authors who’ve been blessed in the industry, worked hard on their craft and persevered to get published. No. You’ve earned your places in the publishing world. No argument. No criticism. This is about the expansion and imagination for a bigger, less restrictive, less vision-less, more vision-ary, less tried-and-true, more bold-and-brave world of Christian publishing. Less platitudes. More truth. 

 

Sour. Yeah.

 

I don’t expect comments to this post. I don’t want anyone who aspires to gain publishing status “to get in trouble”. Not that many professionals check in on this site. Not much worry there. Anyway, it’s one of those “Comment at your own risk” situations. And you certainly don’t have to agree. Unless you’re “sour” too.

 

 

Lord, you know me. You restore my soul. You make sense out of nonsense. You're all I'm livin' for . . . In the Name of Jesus, Amen.

Yes or No?

 

Formulaic fiction is exactly what it claims to be. It follows a specific formula. That formula is expected and appreciated by its fans and complained about by its detractors. Some fans can be unaware of exactly why they enjoy it—that being it’s fairly easy to figure out without too much speculation, and they know what to expect from the story such as it wraps up tidily at the end while providing predictable moments of conflict and tension along the way. Generally speaking, there’s very little surprise involved.

 

If a reader picks up a novel to be entertained, formulaic fiction is geared to meeting that demand. The formula speaks to the style of novel, not necessarily to the voice. However, when there’s a specific pattern in storytelling, things like word count play a major role, and language tends to be fairly lean and less “literary” than those novels which go off the beaten path.

 

Nothing wrong with formulaic fiction if it’s what you choose to read.

 

I’ve learned in the past year that formulaic fiction is not my favorite. Too much of it feels like cheap burgers ingested for days at a time due to budget constraints. I know that sounds insulting, but after reading so much of it, I’m tired of the easily figured out plots with predictable characters in situations which seem formed by brainstorming sessions asking “What if . . .?”

 

So, yes or no as to formulaic fiction?

 

 

 

Father, let us write for you. Direct our words, lead us in your ways. Always. In the Name of Jesus, Amen.

Same old . . .

 

I’m a firm believer in “paying your dues”, working your way “up”, investing your time, energy, and money in whatever legitimate endeavor you wish to excel. Don’t give up and all that jazz. And I think the wisdom of experience gained over the years is invaluable as far as teaching and contributing to the up and comers in a field in reference to both the hard work and skills, the history, and the changes implemented over time. Lead by example, etcetera.

 

Any person, business, occupation, even church or sport can run the risk of stagnation if they continue to conduct practices that no longer show a healthy sense of progress or growth. Clinging to what’s always worked can often cause a decline in credibility, performance, or interest in what’s being offered over and over again without innovation or inspiration. That’s not to say that any of these examples must be revamped to be productive, but it never hurts to take inventory to decide if what’s being done is all that needs to be done to keep one’s energy and viability at its best.

 

Oftentimes these segments of inventory or self-examination or critique can result in epiphanies, disappointments, rejuvenation, and/or genuine change. Change is rarely easy. Some people welcome it, others fear it. All of us need to anticipate it.

 

Success is a funny thing to define. It produces such a variety of responses from people, businesses, churches. Some think if the status quo is maintained, it’s successful. Others think things must always move and change, often to their detriment. And still others recognize when change is inevitable and catch a vision for what’s necessary to hold steady before their vision catches flame.

 

I’ve been stumbling around in the Christian publishing industry for several years, paying attention, gathering opinions, watching the results of professionals’ recitations (and some platitudes) about their industry. Some of you will recall my series on change in the industry several months ago. The number of anonymous professionals who listed their complaints demonstrated two things: 1. Change was needed and desired, and 2. We didn’t hear it from them.

 

The word that comes to mind when I consider the industry is “crossroads”. Without some change, this business stagnates. Print on Demand and e-readers have changed the playing field and offer some monetary changes and opportunities for prospective writers. The naïve praises for gaining validation from royalty publishing is sounding a bit shrill and a tad desperate of late with the new opportunities for yet-to-be-published authors—some of them wondering if royalty publishing really matters after reading some of what is offered at that “level”.  

 

Is the “same old . . .” good, good enough, or not so good?

 

 

God, you know all things. You guide our steps as we submit them to you. Nothing is better than following your lead. Nothing. In the Name of Jesus, Amen.

Sunday's Offerings

 

"My prayer is not for them alone. I pray also for those who will believe in me through their message, that all of them may be one, Father, just as you are in me and I am in you. . ."

John 17:20-21

 

"Father, I want those you have given me to be with me where I am, and to see my glory, the glory you have given me because you loved me before the creation of the world.

John 17:24

 

"Righteous Father, though the world does not know you, I know you, and they know that you have sent me. I have made you known to them, and will continue to make you known in order that the love you have for me may be in them and that I myself may be in them."

John17:25-26 (All NIV)

 

What's that mean?

 

(This post’s title quotes the final “credit” at the end of each episode of the TV series Bones. Dr. Temperance Brennan is frequently heard saying, “I don’t know what that means” in response to various colloquial expressions or pop culture references. She’s a brilliant forensic anthropologist who lives in a literal, isolated, and elevated IQ world with little use for spiritual insights or what she refers to as “mythological superstitions” when her partner FBI Agent Seeley Booth makes faith statements. Just a bit of background trivia for those who don’t recognize the title of this post.)

 

I’m asking the above question to anyone and everyone who might be game enough to answer or explain why it’s said—or why it is—that CBA women readers won’t and don’t read romance or women’s fiction with a male protagonist—at least according to all the powers that be in umpteen blog posts by professionals in the CBA publishing industry.

 

Chances are you don’t want to know my answer, but seeing as I’ve committed career suicide multiple times on this blog, I’m as dead as I can get.

 

Let’s paint with the broad stroke first. Who are these Christian Fiction buying women who will not tolerate a male protagonist in their romance and/or women’s fiction genres?

 

1. They’re Christians; probably from the mainline denominations such as Lutheran, Episcopalian, Baptist, Methodist, Presbyterian.

 

2. They probably “dress up” for church and sing more hymns than choruses in their services. Their church has a choir and an organ, and they might sing in the choir. They’re pastor’s wives, Women’s Ministry leaders and/or participants. They’re congregants over 50 or in their 30s who’ve grown up in the church and are well acquainted with the phrase submitting to their husbands. Some do it willingly, others resent it but do it anyway.

 

3. They dress without flair and probably don’t wear much makeup if any at all. They might work outside the home, but if they do, they still do the majority of homemaking chores. They very possibly homeschool if they don’t work outside the home.

 

4. They’re basically content with their lives but don’t want their version of Christianity challenged or disturbed. They give time, energy, and money to the church. They probably have prayer lists.

 

Granted this could be many women in the Christian faith. So what makes them intolerant of men in the protagonist role in their romances or their women’s fiction? They want something just for them. They don’t really care how a man feels about love or romance or his own little set of intangible problems. They have their own issues to deal with, and they’re tired of hearing about how they need to respect their husbands when their husbands don’t love them “like Christ loved the church”. They want order in their lives from the inside out and they can get it in formulaic fiction. They can see the rules in operation concluding in an acceptable, sometimes even happy, ending and wish it could be so in their lives. The bonnet book readers often long for a legalism that works, the simplicity of following rules and having those rules actually produce something that makes sense or brings contentment. They wish for less indulgence in their lives and strive to keep their desires for material wealth or anything that “spoils” their sacrificial mentality under control.  

 

So. There’s my profile of those women who won’t read or buy novels with a male protagonist. My impression of them anyway. I’ve known a lot of them in the churches I’ve attended, and this is the consensus from my own experiences. There are always exceptions such as eclectic readers who’ll choose any genre if something about the book attracts them. Others love different “cultures” and find the bonnet crowd fascinating.

 

Hey, I have to reason this out because it makes no sense to me to make the blanket statement that male protagonists in romance/women’s fiction won’t get read and/or won’t sell in CBA. So this is my version of who occupies that audience and who gets the bulk of attention from CBA publishers. And just so you know, I’m not putting these readers down. However, this profile constitutes a lot of ladies with hidden hang-ups. Not that we all don’t have them . . .

 

Your thoughts?

 

 

 

Lord, you know me. You know how I puzzle over things that make no sense to me. Shine on me, Lord, and show me my faults and weaknesses. This “prophet-mentality” daughter of yours longs to understand. In the Name of Jesus, Amen   

Separation/Opposition

 

Geez. Inhale. Exhale. Once again. Okay.

 

I realize it’s neither fashionable nor profitable to take jabs at Christian publishing. However, since I’m a writer of Christian fiction with no apologies for the label and a champion of Christian fiction, and an encourager to Christian writers, I can at least assert an opinion which all of you who visit here know I am prone to do.

 

The expression “if it ain’t broke, don’t fix it” doesn’t quite fit. Let me admit that the CBA industry feeds a portion of its hungry, a microcosm of readers who’ve been formed by paying their dollars for prairie romances, now bonnet books, historicals, and other chaste romances. Infiltrating those ranks with bestselling books by Frank Peretti and Ted Dekker, the male thriller authors such as Robert Liparulo and Steven James have been steadily advancing in popularity. When the old and worn statement that “Christian men don’t read fiction” surfaces, if we accept it at face value, then we must assume that the growing readership and buyers of thrillers are, yes, women. Therefore, using that logic, women buyers of fiction do in fact enjoy male protagonists in certain roles so it isn’t too wild to guess they might also accept them in some romance or women’s fiction. Is it?

 

Sometime, at some point, somehow, someone(s) decided it’s no good to put a male protagonist in any romance or women’s fiction book. Oh, please. Since it really doesn’t matter what I have to say on this subject, I’m going to say this: I think the opinions that have been formed at certain levels of the publishing industry have been based on a very small representation of the Christian reading public. And I think many of them are outdated and now incorrect. There. I’ve said it. And, yes, we writers have all been warned that what we post on our blogs is there for all to see. And if we’re too controversial, we’re applying topical—or verbal—poison to our potential writing “careers”.

 

How can some of these statements go unchallenged? Sales prove . . . Sales don’t prove the quality of writing. Sales don’t prove how well or how poorly a book is marketed. Sales can prove a book is well-received or the acceptance (or rejection) of a trend (i.e. bonnet books). If it isn't offered, no one can buy it! If the story stinks in a particular genre, it doesn't sell well. If no one knows it's there, no one will buy it. Sales don’t tell the whole story.

 

I’m sorry, but this one really gets to me. Rant over.

 

 

Father, touch my heart with your understanding. In the Name of Jesus, Amen.

A moment of silence?

 

I’m continually vexed by the convenient “moment of silence” to show “respect” for those suffering from a huge tragedy. A moment of silence? Exactly how does “nothing” show respect for the magnitude of life losses? Because we can’t pray for fear of offending someone, we’ve adopted this non-committal acknowledgement parenthesized by silence. Void. Zero. Noiseless.

And then on to the next item of business.

 Granted, certain rhetoric will only insult circumstance depending on who elects to do the speaking and what they choose to say. So if silence is the next best thing to shutting someone up who is insensitive to such horrendous demonstrations of loss, I suppose it’s the better choice. I find it meaningless. I find it insulting. And I find it foolishly inadequate. It speaks to pacifying those who aren’t even involved in the tragic events. It smacks of the fear of riling an opponent instead of honoring those who’ve experienced extreme loss. Nothing meets the unequivocal need presented during tragedy, but only something beyond human silence can even begin to provide comfort.

While getting people to shut up for a moment of silence might be an accomplishment in itself, it proves nothing, offers less, and can’t in any way begin a process toward justice or healing. Few human things can. I guess that’s why it incites me so much. It seems so arrogant to think that quieting people for a few moments can prove their concern, their respect, or their compassion. It’s just a mark of convenience, whittled down to a brief shushing to somehow mark an event which epitomizes evil and mocks all that is good.

 

 

Lord God Almighty, how far we fall. Jesus, you are the source of healing and, Holy Spirit, you are the Comforter and Counselor. We’re desperate for you. In the Name of Jesus, Amen.