Showing posts with label author douglas bond. Show all posts
Showing posts with label author douglas bond. Show all posts

Wednesday, November 14, 2018

Your Writing Reveals What You Value Most--INKBLOTS

Join me in Oxford for the writing time of your life
Six 'Blots this chilly evening, fall inching toward winter with most of the leaves crunching underfoot on the ground, and frost on the pumpkin in the morning. One of our dogs killed a possum trying to get at our chicken girls in the night, Giles and I armed to the teeth coming in after the kill. Coyote bait. By the way, I invite you to subscribe to my youtube channel where I am making video versions of The Scriptorium, my podcast on literature and writing, theology and history, aesthetics and life https://www.youtube.com/channel/UCHyc37G1dTip2bnznLhc6hA?view_as=subscriber.

I lead off reading this piece then talking about our axiology as writers, what is most important to us, what do we believe most foundationally, what do we believe is true? "If religious books are not widely circulated among the masses in this country, I do not know what is going to become of us as a nation. If truth be not diffused, error will be: if God and his Word are not known and received, the devil and his works will gain the ascendancy; if the evangelical volume does not reach every hamlet, the pages of corrupt and licentious literature will; if the power of the Gospel is not felt throughout the length and breadth of the land, anarchy and misrule, degradation and misery, corruption and darkness, will reign without mitigation or end" 
(Daniel Webster, 1823). We talked about how we are impacting our readers with good or evil, nothing neutral or middle way.
John leads off reading two versions of the synopsis for Saving Grace, his important contemporary novel exposing the evils of abortion and celebrating life. Why are synopsis so important? Firstly, a reading service or publisher needs to know what the book is about in a brief moment. Plan on two degrees of synopsis: 50 word, 150 word. Secondly, the synopsis is the first demonstration of the author's writing ability (this underscores the critical role of the cover letter as well), so write at the absolute top of your game. Think of it as the sonnet to the full play. Shakespeare explored some of the same themes in 140 syllables that he explored in 20,000 words. The synopsis is the sonnet. Thirdly, the synopsis helps the writer assess his own book. If you can't write a synopsis that makes sense, that works, there are likely problems with the book itself (this may also be why we are reluctant to write the synopsis in the first place). Lastly, the synopsis ought to create tension and a need to read/ Think of it as the hook that compells someone to take up and read (first, to buy the book).

Alisa felt like John maybe gave too much away in the synopsis, for example, mentioning the suicidal thoughts she did not feel needed to be in the synopsis. Sydney thought that the unplanned pregnancy clarity in the synopsis is important as so many young women in our world have, or know someone who has, experienced this personally.

Hannah K gave us a summary of her 6,000 word short story that just emerged from reading about Switzerland. Set in 1994, in Western Washington. Her mother's dark blue eyes darted to the rear view mirror, when she replied to her daughter. Pronoun antecedent problem. I liked your inflections as you read. Clearly you are enjoying your characters, which is infectious. Be careful of too much chit-chat exchange at greeting another character. Readers are able to compress light exchanges so we don't need to write all of the hi, how are you, I'm fine, and you, material. This is interesting everyday feeling material, read well, cohesive. But I do wonder where you are going. Are you laying down intentional character development that will make sense when you get to the end of the story? I'm new here. Your dialogue has an authenticity that is enjoyable. You captured our attention and interest. I really wanted to know about the Woodsman, who he was, is he real, is he scary? Give us some rumor and speculation about villainous deeds he has done. A place where you feel like you read it aloud completely wrong is a place to go back and look more closely at what you did write. Was there a lack of clarity? Try cutting out any unnecessary words. Any word that does not have real work to do, kill it. Sydney felt the dialogue sounded natural and the little kids, difficult to do in fiction, came off well. The arsonist story being told seemed lacking in set up. Maybe the character needs to be developed so that the arsonist story fits better.

Dave Killian picks up on his sequel to his futuristic American yarn. It was futuristic three years ago when Dave started it but has come into alignment pretty close to where the world has gone now, not quite, but close. Cory simply said, we have a problem. You don't need simply; kill adverbs. The aggression happened too suddenly, it seemed to my ear. Maybe I haven't been in enough barroom brawls (mine have been brawls of words far more than of fists, at least since I was in about sixth grade when I got beat to a pulp defending my big sister against two older boys who I thought were being inappropriate toward her, or so I want to remember it). Dave explained afterward that this was just a reminiscence of a brawl not the actual one. More clarity there will help reader. Someone like you, a good book title maybe. I like the idea of having an unlikely fellow be fluent in Latin and not fit the stereotype of your average hick.

Sydney continues reading her weighty epic now in first person. I appreciate how Sydney sets us up for looking for things she's not sure are working quite the way she hopes. Monk is not dead but unconscious. Immediate feel now in first person, its happening to me, so it feels, almost. Such a time, such a place, such a.... Not a problem, just noticing the repetition, effective repetition. The dialogue, the thoughts, the narrative, woven like a medieval Arras tapestry by a master craftsman. Sydney reads with such care to cadence and the weight of her words, intriguing. I appreciate how you don't feel like you have to use coma conjunction structure, just coma. It gives a sense of rawness, grasping for phrases that alone can express what must be expressed. I feel that your characters are developing their own unique voice in the unfolding story. And you are feeling less need for traditional attribution as a result, yet we know who is speaking. The clipped simple sentence is so effective. Above all, Sydney writes such lyric prose that we find it beautiful to listen to, as if it is a form of music, but we all agreed we had less visual sense of the setting. Without losing the lyric quality of the narrative, consider giving the reader touch points of visual description. We do need to breathe. John points out that it's almost like you can't keep up with it. And consider giving your reader a lighter exchange, a mildly humorous brief episode for a reprieve from the high emotional tension of the story. Look up, look down, look under. Maybe there's a little creature that can become your lighter touch, be the symbol of ordinariness, comic relief, suspend the weight for an instant, and use throughout (a bird, a mouse, a cat--I don't know but something along those lines comes to mind).

I read the blog article I was asked to write on the importance of remembering and learning the lessons of history for the forthcoming documentary THE GIRL WHO WORE FREEDOM. I'll post the article here next week. Preorder my imminently forthcoming WWII historical fiction The Resistance.

Monday, November 12, 2018

Armistice Day--Remembering True Heroes

My friend John Hemminger with his P-47
“Pay attention!”
            Steve Kelley, sportswriter for the Seattle Times, recently recollected the advice his father used to give him when they sat together watching the Philadelphia Phillies at Connie Mack Stadium. “Pay attention,” his dad would say when Willie Mays came to bat. “You’re watching greatness. You don’t want to forget this.”
I remember sitting on “Tightwad Hill” with my uncle watching the farm club Tacoma Twins, cheering wildly as I peered through the binoculars. Next day after school, I’d grab my bat and try my best to imitate the swing of those heavy-hitter wannabes. For the record, no matter how hard I tried, I wasn’t wired for baseball greatness. “You can’t put in what the Lord’s left out,” quipped the trainer in the classic film, Chariots of Fire. When I would come to bat at neighborhood games, on queue the outfield moved in, or just squatted down and waited until I finished flailing the air. Through all this, however, I have figured out something important: I pay attention to men I think are great, and I desperately try to be like them. And so do you. 
Kelley’s dad was right about one thing: you don’t want to forget greatness. We must sit up and “pay attention” to real greatness. But what makes someone worthy of this attention? What makes someone truly great, a worthy hero, someone you should never forget, someone you should hold in the highest regard, someone you should imitate?

All men honor heroes
“Any nation that does not honor its heroes,” said Abraham Lincoln, “will not long endure.” In an age when debunking heroes has become as American as apple pie and hot dogs, an age of flag-burning ingratitude, of pompous disdain for the past, an age that chants “Hey, hey, ho, ho, Western Culture’s got to go,” we should cringe at Lincoln’s prophetic words. Maybe we’ve come too close. Maybe we’re there already. Maybe we are a people that mock at real heroes and, in their place, are now bowing down before the real villains.
Nineteenth-century Scottish historian Thomas Carlyle wrote that “Hero-worship cannot cease till man himself ceases.” In the fifth century, Augustine referred to men as homo adorans, man made to adore, to worship, to venerate heroes. Thus, kings and generals are followed by their adoring armies even into the jaws of death. “Once more unto the breach, dear friends,” cried Shakespeare’s Henry V as he rallied his men before the battered walls of Harfleur, “or close the wall up with our English dead!”  In the 1st century BC, Julius Caesar was so adored by his legions that they were prepared to cross the Rubicon and march in defiance against Rome and Pompey. Or the young Alexander the Great motivating thousands to fight and die so that he might spread Greek culture and language--and rule the world in the bargain.
The literature of Western Civilization is the fascinating saga of great achievement, an enduring celebration of heroes. Great poetry praises the deeds of heroes, real or imagined, from the 300 Spartans at Thermopylae, to the bloody triumphs of Beowulf, to the dragon-slaying Red Cross Knight of Edmund Spenser’s epic allegory, to the 600 courageous men of Tennyson’s Light Brigade, even to the humble heroics of Tolkien’s mythical Frodo the Hobbit--it all fires the blood and fascinates the imagination.
One thing is overwhelmingly clear: You and I were made to adore heroes. We pay attention with all our being to great men.

Beware of false heroes
This ingrained tendency to adore heroes, however, poses particular challenges for young men growing up in a culture inundated by glitzy, muscle-bound icons of popular culture and the sports arena. Pop culture particularly plays on your love of heroes. It could not survive without it. The icons of entertainment demand your worship. They live and die for it. So it has always been.
Many historians argue that the history of the world is the history of men following heroes. It would be just as accurate to say that the history of the world is the history of young men blindly following the wrong heroes, following unworthy examples, whose vices are tragically compounded in their fawning worshipers.
So who are your heroes? In today’s reading, Paul urges the Philippian Christians to “Join with others in following my example,” that is to say, follow the right men, set up heroes for yourself and be like them. Speak as they speak; do as they do. The Bible often speaks this way. Twenty-eight times we are told to imitate others, often to follow Christ the Captain of our salvation, but fully seventeen of those times we are commanded to follow others, like Paul, who have been transformed by the power of the gospel of Jesus Christ and have been enabled by that same power to heroically follow Christ.
 Paul, here, is in earnest. This is no casual advice, take it or leave it. No. He reminds us, “I have often told you before and now say again even with tears.” Why with tears? Why so earnest? Because “many live as enemies of the cross of Christ.” Because an earthly hero has his “mind on earthly things.” And the young man who chooses to follow worldly heroes, to applaud at their entertainments, to listen to their music, to cheer at their achievement, to spend his money on their products, to paper the walls of his bedroom with their posters, that young man should not be surprised if he follows those heroes right into the jaws of hell. From this, you and I are duty bound to draw the line in the sand. This is no trivial matter. Don’t follow the enemies of the cross of Christ. “Their destiny,” Paul declares without equivocation, “is destruction.” And so will yours prove to be if you follow them.
Moreover, the more impressed you are by the status and achievement of unbelievers, by their sophisticated good looks, by their clothes, their shoes, by their posture, their swagger, by their prowess in sports, by their associations, their way of speaking, by their money and fancy cars, lavish houses, planes, and yachts, the more you are moved by these things the less you will be able to separate out their vices. Soon they won’t seem like vices at all. At the last their vices will be yours. Know that their end will be yours as well. Fully expect to become like those you adore.  
“We are all creatures of imitation,” wrote nineteenth-century Anglican bishop J. C. Ryle. “Precept may teach us, but it is example that draws us.” And since those examples can draw us from both directions, you must beware of the tendency to go easy on the parts of your sports or music heroes’ lives that you know are sinful.
Do you honestly think that you will be unaffected by the foul language, the unfaithful living, the hostility to truth, or the swaggering arrogance of your worldly heroes? I doubt it. And the more impressed you are with their achievement the more likely you are to embrace other elements of their lifestyle.
Don’t expect to see it coming like a tidal wave. It all happens gradually. Rarely does a young man, like yourself, who is growing up in a Christian home, rarely does he plunge headlong into sin with his back against all he has been taught. Generally, it happens little by little, one single, what’s-the-big-deal step at a time. “The road to hell,” observed C. S. Lewis, “is a gradual one.”
The best way to avoid the gradual road to hell, is to cultivate honor for and imitation of truly worthy heroes. Here’s one of mine.

Fight to the death
            I’ve thought a good deal lately about one of my heroes. P-47 World War II fighter pilot, John Hemminger lived with his wife and three children on American Lake, a five-minute bicycle ride from my childhood home. I was the neighbor kid who always hung around in the summer, fishing, swimming, and doing wood-working projects in the basement. Along with the stray dogs that attached themselves to kind-hearted Mr. Hemminger, I too adopted the Hemminger family as my own.
My mother’s rule was that I couldn’t go swimming unless the thermometer read seventy degrees. I soon figured out how to nudge it up with the hair dryer, and then I’d hop on my bike and off to the Hemmingers. I always tried to time things so I could sit down for the usual lunch fare of grilled cheese sandwiches, soup, Gravenstien apple sauce, dilly beans, and smoked salmon. Nobody did homemade applesauce like Edna Hemminger, and nobody did salmon like John Hemminger.
John Hemminger was a man of deeds and not words, and so I rarely heard him speak about the war, and never about his role in it. I was forced to piece things together from pictures and from stories others told about his role in that great conflict.
“The greatest catastrophe in history,” Stephen Ambrose called World War II and “the most costly war of all time.” In April, 1945, 300,000 Americans attacked the Japanese island of Okinawa, while the US Navy was pounded by 350 kamikaze planes. We lost thirty-six ships. In human life, the casualties were beyond staggering: 49,200 men in one battle. The Japanese lost 112,129 human lives at Okinawa. Still they fought on.
Germany surrendered in May, but by summer, it appeared that Japan would fight on until there was not a Japanese soldier who remained alive. A full-scale Allied invasion of Japan seemed the only option, but it was an invasion that would have cost 1,000,000 American soldiers their lives. President Truman opted to drop two atomic bombs on Japan in hopes of breaking the enemy’s will to fight to extermination. It was as if the entire nation had become kamikaze flyers.
           
Fighter pilot greatness
In 1941, after the Japanese attack on Pearl Harbor, America joined the war, and can-do men like John Hemminger were desperately needed to fight. He said goodbye to his childhood sweetheart, Edna Mae Firch, and joined up.
The picture I will always have in my mind of him is of a quiet young man in a leather bomber jacket, a shy, boyish grin stretching across his handsome features, posing with his beloved P-47, affectionately dubbed Edna Mae. Though called on to do highly dangerous and daring feats, there was no hint of the cocky, swaggering dog fighter in his looks or carriage.
John Hemminger loved machines. I can only begin to imagine his fascination at first sight of his P-47’s Pratt and Whitney, eighteen cylinder, 2,800 horsepower engine, or the heart-pounding thrill when he first accelerated into the heavens at his plane’s maximum speed of 433 mph.
He was a gentle, peace-loving man, so I particularly wonder what his first thoughts were when he laid eyes on the eight 12.7mm Browning machine guns bristling from the wings of his P-47, a machine engineered for killing. One thing I’m sure of: there was no better cared for fighter plane than his, and likely none more skillfully used for its designed purpose.
John Hemminger was credited with the last P-47 kill of the war. By some accounts, he and the Japanese pilot were slugging it out somewhere over the blue waters of the Pacific, September 2, 1945, while American top brass accepted the Japanese unconditional surrender on board the USS Missouri. The facts are unclear, because John Hemminger rarely spoke about the war, and boasting was something he never did.
What is clear is that John Hemminger, along with a generation of Americans, was a humble servant hero who did his duty, and then, unlike many with whom he fought, he returned home. Bidding farewell to his P-47 Edna Mae, he married his beloved Edna Mae, raised his family, and lived a long, seemingly insignificant, life. John Hemminger and his dear wife were not bombastic about their faith in Christ, but few people have more consistently lived out the Lord’s injunction to love their neighbor as themselves. Consequently, their home was a quiet, contented one, filled with stability and service.
In the world’s eyes, after the war John Hemminger lived an ordinary life, some might have called it boring. But not so to the dozens of missionaries he supported and took fishing when they were home, and whose decrepit cars he repaired, rebuilt, or replaced, often at his own expense. And all done hush-hush, so no one would give him credit for his latest acts of generosity.

True greatness
Jesus told his disciples, if they wanted to be great, to become servants. He didn’t say to become great baseball players, or inventors, or CEOs, or powerful politicians, or celebrity pastors, or best-selling authors—or even fighter pilots. “Whoever wants to become great,” Jesus said, “must be your servant” (Matthew 20:26). If you want to be great you too, must be a servant. John and Edna Hemminger were great Christians, because they were transformed into great servants by the ultimate Servant of servants, Jesus Christ.
My hero John Hemminger died of Parkinson’s Disease, December 27, 2006. His wife Edna Mae suffered for decades with Multiple Sclerosis before her home going. But I never heard either of them complain. They bore their trials with patience—even with smiles. Nor did I ever hear either of them speak critical words about others. I think they were simply too busy, in Christ’s name and by his grace, loving and serving their neighbors. Pay attention, young man. This is true greatness.
You probably don’t need to travel to faraway places to get to know and honor servant heroes. I suspect that in your church, neighborhood, and extended family there are several John and Edna Mae Hemmingers. Folks like them help unmask the masquerade of what passes for greatness among modern celebrities. Pop icons and all their vain-glorious glitter look pretty irrelevant next to great people like these--but only if you train your eye and your affections to know and honor genuine greatness.

Glitz or glory
Let’s face it. It’s far easier to talk about being impressed with servant greatness than it is to actually be so. I wonder if the normalization of sin is not the reason. “Worldliness is what makes sin look normal,” wrote David Wells, “and righteousness look odd.” Hence, venerating worldly heroes sets us up to begin feeling that humble, holy living is pretty out of touch, not much fun, certainly not cool.
Here again, you must pay attention. When you honor heroes who live worldly lives, you should expect to gradually become more impressed with their worldliness. Meanwhile, your worldly hero’s lifestyle will increasingly seem to be the normal way of things. And since no one wants to be odd, everyone wants to think of himself as a normal guy, so gradually you will wink at their vices, embrace their values, and imitate their ways. Finally, Paul’s point in Philippians 3:17-21 is that if you do this, when the dust settles, you will share in their destruction.
Puritan Jeremy Taylor described the incremental decline that a young man should expect to pass through if he forges friendships with worldly heroes and their sin. “First it startles him, then it becomes pleasing, then easy, then delightful, then frequent, then habitual, then confirmed, then the man is impenitent, then obstinate, then resolves never to repent, and finally he is damned.”
On the Judgment Day, all that worldly glitz, all that superficially impressive lifestyle will be unmasked. And if you have been duped by a false hero, by one whose “mind is on earthly things,” it will be far too late to halt the cycle of decline. You must do it now.
Join with others in following the example of great Christians—like John and Edna Mae Hemminger. The Bible is full of them, and so is church history. Pay attention to them.
Throw in your lot with the truly greats. Know your citizenship. Paul says it is “in heaven.” Know that most of the world’s heroes are frauds. Their power, their prestige, their wealth, is all borrowed and will someday be swept away with them. “Their destiny is destruction.” No real man would throw in his lot with losers like that.
You, young man of God, were predestined for a glorious body, transformed by the infinite power of the Lord Jesus Christ. Make him your ultimate hero, honor those who honor him, and resolve that he will have no worldly rival.
Learn more about my 20th Century books, War in the Wasteland (WWI) and The Resistance (WWII), both a significant CS Lewis historical connections--bondbooks.net  

Wednesday, May 23, 2018

Wait Makes Weight: Implication or Explication in Creative Writing--Inkblots

Weary French Resistance fighter WWII
Inkblots on this warm, blue sky, green pasture evening, five die-hards this evening, including Hannah, for the first time, and we hope not the last, daughter of long-time Blotter, Dave. Rachel (who has been before but not read yet) joined us again this evening because she says she needs culture (I hope we don't disappoint over much).

John leads off--after grumbling about me making him re-rewrite the ending including all the sights, sounds, and, yes, smells of new life, baby in arms, in wonder that she could have ever considered taking this precious life--he leads off with a rereading of the last chapter, after multiple rewrites, where the protagonist in Saving Grace is delivering her baby, Grace. "I blurted," all in first-person point of view. How do you transition in the book when your protagonist is not the point of view? Remind me. I think you will improve this chapter enormously by going back through sentence by sentence, paragraph by paragraph looking for ways you can save the most weighty words and ideas for last. "Wait makes weight," as John Phillip Souza put it.

Rachel, the only mom in the room who has delivered a baby, felt that John had gotten most things accurately (thanks to John's careful research from his and my friend Michael, family practice doc who has delivered many babies over many years of practice). This is a redemptive story, where a girl gets pregnant, considers abortion, but through the loving kindness of many, she comes to this final chapter, through devious and anguished ways, to the point of delivering this baby, all alone. Rachel points out that the reader should be aware and affected by her loneliness in such a life-defining moment, delivering her baby, without a husband. The conclusion: she is now repentant; all is not easy and well, but she is doing the right thing. Dave pointed out that she would not be left alone for two hours during birthing.

A discussion of child birthing followed, only one mother in the room, but several fathers of multiple children who had been there at numerous births. We discussed implying rather than baldly stating something, for example, the young mother realizing that this was a living human being, a baby she had been planning to kill. How best to convey this without baldly stating it? We talked about the roles of doula.

Dave puts us back in context (after three years!), second civil war in America, futuristic story, the president of each division of the not-united states, are half brothers. Genetic engineering assassins, with cloning and other futuristic phenomenon. Each new metamorphosis increases the malevolence. Stephen, ten hours had flown by, try another verb maybe as time flying is somewhat cliché. Alexis is drugged in the elevator. Robert and Stephen are half brothers. Can you make more clear which of the brothers is the dominant perspective? Robert flexes his hands, but is Stephen seeing this and interpreting the meaning of it, or is it being felt by Robert? This sounds like a script for the screen. That's not a criticism, necessarily. Maybe it is vivid, visual. Do you have a virtuous character or one who is becoming so? I'm curious who is the protagonist, in the sense of good guy or woman? Is anyone confronted with the ethics of what is going on, morally outraged by the genetic engineering. It seems to me that Alexis is the character who is the redemptive one. That becomes more clear as Dave read on. I felt like there were some inconsistencies in some of her responses (Jerk).

John commented that he can't see anything, room, relationship of space. Include smells, sights, sounds, all senses banging. figure out ways to make the contrivance work, is it after hours so he isn't seen carrying Alexis over his shoulder, entering by service elevator. Make it work.

Hannah is twenty-one, Dave's eldest daughter, going to read a short passage, the first time she has ever read her writing out loud in front of others. Scotland, 1718. A good deal of detailed description of place and context. It seemed to me that you shifted from your female character to Jamie's perspective. Hannah explained that this is a shorter version of a longer passage. I applaud Hannah for having a healthy writer instinct to cut unnecessary words and give us the shorter version. One of the first things I do when self editing is to look for words that do not have work to do and kill them.

And now I must take my own medicine. I read chapter one of The Resistance (working title), B-17 pilot over occupied France in WW II. Some very helpful Inkblots critique, as usual. Shorten opening chapter (which I had been bothered by myself), and introduce nervous humor, different men trying to cope with the stress of air combat. Sample reading coming soon here on the blog...

Wednesday, April 4, 2018

Literary Banking: Investing In Your Imagination

Oxford Creative Writing Master Class
with author Douglas Bond
How is a literary tour of middle England like making deposits in the bank of your imagination? Let me show you by giving you a window into the most recent Oxford Creative Writing Master Class.

I wrote the first draft of this post while unwinding with Stilton, Hojiblanca olives, and Languedoc, in drenching London after an invigorating week of guiding seven aspiring writers on a literary tour of middle England (or is it middle earth?).

Let me nudge the door ajar and give you a peek at one brief episode of that inspiring week just concluded. Join me as I rehearse our opening day's literary adventure together:

  • First stop, Martyrs' Monument, rooting our literary tour in history, in this case, the tragic history of the Bishop martyrs of 1555-56.
  • Then off to climb Anglo-Saxon St Michael's Tower (c. 1054) and view Oxford from above, get the lay of things.
  • In the 13th c nave of the City Church, we discussed liturgy, the Reformation, transubstantiation, the rediscovery of biblical truth, Lewis's first communion December 4, 1914, where he "ate and drank condemnation to myself," as an atheist coerced by his father to be confirmed in the Church of England.
  • Then strolled past Christopher Wren's 17th c Sheldonian Theatre where Lewis, still raw from the trenches of WW I, read his winning essay May 24, 1921, placing him squarely on the rising academic radar of Oxford.
  • Dinner at The King's Arms, the eatery with the highest IQ per square inch of anywhere in Oxford.
  • Stop over at the doorway of one of JRR Tolkien's houses, and onward to Merton College Chapel for Holy Week evensong, sung by magnificent college choir (ranks with King's College Chapel Choir, Cambridge, in my opinion), music by William Byrd, with texts by Martin Luther, and concluding with our joining the choir singing Isaac Watts, When I Survey (to Edward Miller's Rockingham Old, the proper tune, not the Lowell Mason ditty we Americans sing it to).
  • Then country drive (on the wrong side of the road) to Banbury Hill Farm, near Blenheim Palace in the nearby Cotswolds, and cheese and chocolate as we launch into our first of many tutorial times together. 

Each day was filled with wonderful and memorable literary experiences that are designed to give expansive breadth and substantive depth to the writer's mind and imagination. We cannot write well if we do not have a well-nurtured mind, heart, and imagination. I sometimes refer to what we are doing as making deposits in the bank of our mind, imagination, and heart, there to be drawn out as we mature, develop our writing skills, and are presented with opportunities orchestrated by the kind providence of our good God. Think of it as literary banking, and now is the gathering, saving, storing up season of life. What a week of literary banking lay ahead!

After experiencing that first evensong at Merton College Chapel (think Anglo-Saxon scholar JRR Tolkien) with my Oxford Creative Writing Master Class writers (think unforgettable intensive writing experience on location amidst the vaulted splendors where so many greats honed their writing craft), on our second day, I had my scholars settle into the hushed majesty of an Oxford college chapel, rain pattering against the stained glass, and write to a prompt.

Decades of teaching have taught me to require nothing of my students that I don't equally require of myself. Hence, I wrote a sonnet for them to parse and scan, and to use as a working illustration of just what iambic pentameter is and why it is so valuable for a writer to submit to the conventional forms of poetry:

I sensed that there were angels here, 
With awe-filled bowing, wing beats drawing near--
Or is it Merton's chorister that I hear, 
Medieval tiles endure their fickle feet?

Amidst the splendors grand, I take my seat, 
Agape at Gothic grandeur, soaring high; 
My mind awhirl with wonderment, I sigh
As choral songs arise and ancient stones reply.

The tapers bow as lyric praise redounds, 
Mute hearts, yet feeling voices, heavenly sounds 
Of Anglo-Saxon accents, blithe and strong, 
Lift glory, laud the Father, with their song. 

Ennobled for the moment, I belong, 
But it's for endless anthems that I long.

(Oxford, March 24, 2018, after evensong at Merton College Chapel).

I am podcasting more details from the recent OCWMC at The Scriptorium. Browse the archive of The Scriptorium for writing tutorial, vignettes of Church history, interviews with other authors, and more, then follow and share.

Join me on the next Oxford Creative Writing Master Class. There are two OCWMCs in 2019 but they will fill fast:

Spring: April 2-9, 2019

Summer: June 15-22, 2019

Space is limited so visit  bondbooks.net and contact me today to reserve your place. #oxfordcreativewritingmasterclass

Wednesday, March 14, 2018

Life and Writing: Tragedy, Tumult, and Triumph--INKBLOTS

March 13, 2018 INKBLOTS (two for one)

My next fiction book? WW II French Resistance?
I told about my birthday lunch with my venerable mother (March 13, her 81st birthday), and then about listening to her read aloud vignettes she has been writing from her life: dysfunctional family, bi-polar mother, adultery, illegal abortions for her mother (there's no need for adjective before abortion; they're all illegal in God's sight), she and her siblings separated and placed in various foster homes, older brother chronic trouble with the law (ends up at Ft Leavenworth, then years later dying at mental hospital years later, alone, except for my mother's regular visits), one foster home for my mother, a believing Lutheran family, in the providence and mercy of God, where my mother regularly attended church for the first time, heard the gospel, compensated for the domestic disaster that was her family by excelling in academics, orchestra, student government (she was the first female student body president of RA Long High School, Longview WA), and graduation day was awarded outstanding senior by the faculty (and by student body awarded most likely to succeed, and class clown--she does have a great sense of humor). How to format these vignettes of her amazing life? 

John leads off with a rereading of last chapter of Saving Grace, just edited and proof read by, you guessed it, my venerable mother, and literary wise woman. John has gotten push back from Inkblots before for this being to0 pat, everything works out just hunky in the end. Suicide theme. Did you really try to kill yourself--can you show her incredulity rather than state it like this. Grace's tantrum seems stiff, forced. Nora's comforting feels formulaic, too superficial. And Grace comes around awfully quickly, considering she was about to kill herself a few minutes before. I know, I'm just feeling sorry for myself. And then Grace suddenly gives God glory, seemingly out of the blue, considering the suicide context. I think the reader will be most moved, changed, by seeing the soft, fleshy cheeks of a newborn baby, a teem mother cuddling her real human being, created in the image of God, precious life. Observe a mother with a newborn (Monica in France) and write down all sensory material you observe. This is where this book needs to end. Not everything will be easy, make clear, but everything is now right, new life and new light. Overwhelm readers with the wonder of birth, new life, regardless of and without diminishing the sin and crisis that conceived it. End with cooing baby spitting up, a metaphor for the delights and challenges of life in a broken world.

Patrick thinks that the mom comes around too quickly. Alisa thought there was a huge change from suicidal thoughts and words to settled calm.

So my marriage non-fiction book--what to do with it? Marriages Through the Ages: Delightful, Disappointing, and Dreadful Ones (working title). I received some good counsel from Greg Bailey (editor at Crossway and good friend; and Marvin Ink-in-the-veins Padgett over breakfast last week in Atlanta. Both were cautious about the book, great idea, but difficult to package and sell on large scale (I'm not Keller or Tripp, big names in marriage books along with others). Patrick thinks I should imbed it in story form, a pastor counselling parishioners, meanwhile, the pastor has his own struggles. He gives advice to others but is missing the big issues looming in his own home. Could use dramatic irony, the reader seeing what the pastor is blind to. Made me recollect The Confession by Grisham, featuring a Lutheran pastor caught in the middle of the courtroom thriller; I was handed the book on a plane by a woman whose husband bought it at the airport but she had already read it. Is this where I should invest my writing energies right now? I'm just not so sure. Maybe package as blog devotional material. 

Or there's my WW II French resistance yarn idea, with CS Lewis, the voice of faith, breaking through on the BBC from time to time throughout. This would pair well with War in the Wasteland. I'm enthusiastic about this idea. Then again, I have my long standing Bunyan era historical novel idea still very much on the agenda, but is this the right time? It would follow The Betrayal, The Thunder, The Revolt, and Luther in Love in my adult historical novel category. And I've toyed with the idea of writing another Hand of Vengeance like whodunit, but this one set in 1066 era Norman Conquest France and England. For the time being, I have tabled my American Civil War era novel idea, under counsel from respected publishing peoples; far too much flapdoodle in media and general society to invest energy there, for now; it always had carried with it the potential to alienate blocks of readers arrayed against one another already in the entrenched encampments. Someday.

Patrick has rewritten his Adam and Steve satire yarn, speculative fiction. He feels much better about it. We did heaps of chatting and good conversation this evening. Maybe that's what we all needed. It was warm and pleasant, from my perspective. I trust for everyone else too.

[Previous unposted 'Blots meeting material]

Maybe too close to Valentines Day, but Inkblots, four strong, charges onward and upward. Rachel (whose computer died just as she started to read last time) leads off with another of her scrumptious food-centric yarns. I gain weight just listening to Rachel read her work.

Manhattan setting, shopping outing, with food? Third person, with thoughts, and backstory. Miss Dahlia. Rachel's characters are so unique and human. There is a hint of Ramona. Mysterious, powerful girls you read about in books. Delightful metaphoric doctoring and thrifting. Allusion to Bronte's Wuthering Heights. Lots of chatty dialogue. John wanted to know how much the shoes cost. Rachel said Miss Dahlia gave her a discount. I want to hear more about that exchange. When did the story occur? We tried guessing based on clues from the reading. I thought it reminded me of Beverly Cleary's Ramona yarns, so set in 50s. Rachel said she was up in the air, maybe 90s, but then maybe taking in the Cold War and Communism, or even earlier when the stock market crashed. Might be a good idea to narrow that down. The grandfather is a saddle maker and could have memories of the Depression and its effect on the saddle making business. 

Sydney picks up on her reading, shifting to chapter two and twenty years later. We had discussed the challenges of a twenty year gap from opening episode in prelude to here chapter one. The hour between sunset and dark... soft shadows of dusk. Sydney writes like a Pre-Raphaelite, but unlike many I have heard who write in an archaic style, she pulls it off with ease and authenticity; it sounds like it could be Gothic romance, Jane Eyre-esque. 
girdle, and shilling from under his boot? I was a little confused by both of these description. Sydney has actually improved on the Gothic romance feel, as she stays on intentional trajectory, without the seeming excercies. There is also a Dickensian feel, narrative heavy, with dark mystery, layers of intrigue, and a sense of impending doom around the next dreary dark corner, the gas street lights casting eerie shadows on the cobblestones, oily and reflective in the evening drizzle. 

John wonders where Sydney is going, how long is it going to be? He wondered about the pace. He felt it moved slowly, but he loves Sydney's writing. Intricate detail described. Rachel said she can see everything clearly. White skin and chiseled features, but chews his moustache, which seemed out of character with his chiseled features; buff hunks shouldn't chew their moustache. John wonders why

Good crowd tonight, seven, the number of perfection. We chatted (read, I chatted) about my birthday lunch with my mom for her 81st birthday today. Such an extraordinary woman on so many levels. Her story is the material for Hollywood, but they would slaughter it's outcomes, outcomes ordained by a merciful God who providentially rescued my mother from being another tragic statistic of the materialist naturalist mid century last.



Tuesday, March 13, 2018

Rejected in London--Reflections from the Past

St James Park, London (2014)
Leaving for London (and Oxford, Olney, Elstow, Stratford-upon-Avon, and Paris overnight on my way home) in a few days gets me reflecting on previous visits, especially the episode where I was rejected by an airbnb proprietor because I am a Christian (more below on that). Here's a few past reflections:
London, one of the world's most extraordinary cities. The place never ceases to amaze me.
It is wonderful to see and feel the hand of God when traveling alone. Bustling past me on all sides, in the tube, on the street, at the shop, or restaurant, or hotel, is a mass of humanity, many even most of whom don't look like they're having a particularly jolly time of it. Frantically trying to fill the emptiness with more emptiness. While wearing the most radical hairdos, miniskirts, and tattoos imaginable.
When you're traveling with others you talk with them, but when you're alone you tend to strike up conversations with more of the locals. Troyin from Nigeria, for example, who packaged up and shipped the books for me. There was something about him right off. I know, I know, everybody says that sort of thing after finding out the other person is a Christian. "Born again," Troyin assured me, leaning close and gripping my hand, and giving me the warmest, whitest African smile.
Then there was the street preacher standing across the street from the Metropolitan Tabernacle where CH Spurgeon used to proclaim the gospel. What boldness! Flanked by indifference and by head-shaking scorn, this fellow proclaimed Jesus to the crowds (check your Bible; the vast majority of evangelism modeled in the Bible is more like what this zealous man was shamelessly engaged in). I went up to him and shook his hand and encouraged him to keep preaching Jesus (a giant like him needed a wimp like me to give encouragement?). "What a friend we have in Jesus," he began loudly singing, putting his arm around me. I put mine around his and sang with him. Till my bus came. Which wasn't very long. Nevertheless, I felt the thrilling wonder of the oneness of the body of Christ.
Here were two men I did not know and we're grinning at each other and hand shaking and hugging like we're long lost brothers... Which, in fact, we are. Love this city! And want to see and know more brothers in it.

Denied a room by atheist proprietor in London


Yes, I know. I write fiction. Some of you may think this is fiction. But it's not. In an episode that calls up images of baking cakes, flowers, and photography, I really was locked out of booking a bnb room in London! While my dear wife was in the process of booking two nights in a London bed and breakfast for me, the booking was first accepted then rejected. We rechecked the calendar for the days I was booking and it still indicated the proprietor had room vacancies for the days I needed a room. When I sent a query to the inn, I had this amazing reply from the proprietor.
Hi Douglas,
I hope this doesn't sound too strange but I kind of think of myself as a total atheist...I love my Catholic mother dearly but still manage to fight with her every Christmas with regards to our views on religion...and wouldn't want to inflict this upon a guest. I hope you understand. I am not in the practice of being 'selective' on faith but feel from your profile yours takes a very active part in your day to day life.
Best wishes, Malika
Here was my reply:
Hi Malika,
I travel a good deal, and this is a first for me. I am a big fan of individual freedom, including the right of a proprietor of an inn to be selective about who she permits to board at her establishment. I do find one thing a bit curious, however. There is the preferred public perception that Christians are the intolerant ones and atheists are the unstinting champions of diversity and tolerance. But I guess not in this case? Perhaps we have this in common: Each of us hold to beliefs that take a very active part in our day to day life--including making decisions like the one you have made, and I enthusiastically support your right to make it. But you've given me something to muse on: Do atheists actually believe and practice their own creed of tolerance and diversity, or simply employ the rhetoric? I assure you I have no hard feelings and wish you all the best,
Douglas  
Pray with me that God by his gracious and sovereign Spirit will open the eyes of this woman. She responded to my reply above by accepting me to stay in the old broken down pub she managed. More from that stay:

The neighborhood I'm staying in is earthy and interesting. Definitely not the 4-star accommodations we will be enjoying on the tour. And the eclectic blend of humanity staying in this intensely out of round airbnb place is odd, fascinating, not-normal--I guess I fit right in! Reminds me of my youth hostel days in the eighties.

Malika, the proprietor, has been a real dear. It's a sad story really. The old pub she has been operating as an airbnb is slated for the wrecking ball in a week or so. Close enough to center city London, the property is just too valuable; a renovated old pub could never generate the revenue that high-rise condominiums could do on the same real estate footprint. So down she comes. I'm hopeful they'll wait until after I leave tomorrow morning!

Malika has spent the afternoon and evening plotting out a sort of end-of-life party for the old pub (she is very talented; skillfully crafted story board work for the gala she is planning with her sister and Hannah and some other friends). It's really quite impressive--and sad. An English teacher from Cheltenham and two young men from Germany and I looked on as they schemed together. The Marlborough pub as you see pictured with its warm, once-cozy fire, will shortly be no more.

It reminds me of what Woody Allan recently said when asked if he hoped his film legacy would last forever, "I don't care about my film legacy. I want to last forever."

Follow my forthcoming travels in London and the Oxford Creative Writing Master Class here and on facebook, twitter, and Instagram (bondbooks) and subscribe to my website at bondbooks.net (@gmail.com)

Thursday, February 22, 2018

LITURGICAL FIDGIT: Why We Need Isaac Watts (and others like him)


Hymn Tour participants at Watts Park, Southampton
As the church flounders about in the “liturgical fidget” (term borrowed from CS Lewis's Letters to Malcom Chiefly on Prayer), Isaac Watts can give us both the theological and liturgical ballast Christian worship so desperately needs (what I here argue for Isaac Watts can be said about many of the luminaries of Church history and hymnody). And he can give us an emotional rudder, a means of steering the passions in worship by objective propositional truth feelingly delivered. Without such a rudder, worship is shipwrecked on the shoals of cheap-trick emotionalism generated in much the same way it is at a concert or a football game. Tragically, in place of singing psalms, hymns, and spiritual songs in worship to Jesus Christ (Col. 1:16–17), raw feelings of having done so may be supplanting the real thing.

Watts was around nearly three hundred years before Little Richard said, “The blues had an illegitimate baby and we named it rock ‘n’ roll.”[i] But he understood important things about how human beings are wired, things Little Richard and his offspring understand, but which are suppressed or ignored by many in the church today. Watts understood that “our passions are intensely directed toward material things but are hardly moved by the most important discoveries of faith.” He was warring against the stale lifeless singing in worship in his youth, and he rightly wanted to see emotion and passion, as we do, in sung worship. He knew that passions “are glorious and noble instruments of the spiritual life when under good conduct.”

MISCHIEVOUS ENERGIES

But here is where Watts is a counter voice to many well-meaning worship leaders today; he knew that passions “are ungovernable and mischievous energies when they go astray.”[ii] He grasped—and so must we—that it is the business of church leaders both “to assist the devout emotions” and “to guard against the abuse of them.” Centuries before the invention of the electric bass, Watts warned church leaders: “Let him not begin with their emotions. He must not artfully manipulate” their passions and feelings until he has first “set these doctrines before the eye of their understanding and reasoning faculties. The emotions are neither the guides to truth nor the judges of it.” He argued that since “light comes before heat . . . Christians are best prepared for the useful and pious exercise of their emotions in the spiritual life who have laid the foundations in an ordered knowledge of the things of God.”[iii]

FIRST LIGHT THEN HEAT

In the very best of Watts’ hymns, he combines both emotion and knowledge. But for Watts, it is always light first, then heat. The feeling of wonder, the emotion of profound gratitude, the escalating thrill of adoration and praise always follow the objective propositional exploration of the doctrines of the gospel. For Watts, the doxological always followed the theological. And the foundation of ordered knowledge of the things of God that must precede true doxology is essential for all Christians, men and women, rich and poor, in all times and in all places, those with PhDs or GEDs, men from every tribe, kindred, people, and language. We know this not because Watts said so. Watts discovered it from divine revelation. Hebrew poetry in the Bible can be deeply passionate, even erotic, and the Psalms are rich with thrilling emotion, but it is always light first, then heat. Surely this is what the apostle Paul was getting at when he wrote, “I will sing praise with my spirit, but I will sing with my mind also” (1 Cor. 14:15b).

FEAST OF DEVOTION

The best way to discover this, however, is not by reading Watts’ prose arguments. Read and sing his hymns. A generation of Christians that returns to Watts’ feast of devotion spread before us in his hymns will find celebratory nourishment for both mind and spirit. Watts’ grasp of doctrinal truth about Christ and the atonement will become our grasp. His determination to take every thought captive to Christ will become our determination. His love for children and the poor will become our love. His passion for the lost will become our passion. His thrill at the forgiveness of sins will become our thrill. His praise will become our praise. His awe will become our awe. His wonder at Christ’s saving love for sinners will become our wonder.

All who long for Christ, for being like Him, for adoring Him, for serving Him, for sharing His grace with the world, will find in Watts a treasure trove of experiential doctrine, richly adorning biblical truth that leads to the most thrilling passion for Christ.

CHEAT OF DEVOTION

What about a Christian culture that abandons Watts? We should expect to continue to be cheated by raw emotion masquerading as spiritual light. I for one do not want for an instant to be thrilled with emotion, to become a junkie of my feelings, to be enslaved to raw passion—and tell myself it’s Christ with which I’m thrilled. I don’t want a cheat. I want Christ. I want to examine from every angle the wondrous cross on which my Savior willingly gave up His perfect life for my miserable, unworthy one. I want to see His head, His hands, His feet, the blood and water of His sorrow and love flow mingling down, washing me clean from my guilt and corruption. I want to survey with wonder a love so amazing and so divine. Then, and only then, I want to be carried away, dazzled beyond words, with Jesus my atoning sacrifice, my gracious Substitute, my perfect righteousness.

SURVEY THE WONDER

By the gracious gifting of Jesus, Watts was given a gift of timeless poetic wonder. It was a unique genius. We cannot have it; it was Watts’ gift. But it was a gift given for the edification of the church until we reach that “land of pure delight.” By it, every generation of God’s children can take Watts’ words as their own. By his poetic devotion, every Christian can share in his wonder at Christ and the glories of the world to come.



When I survey the wondrous cross
On which the Prince of glory died,
My richest gain I count but loss,
And pour contempt on all my pride.



Forbid it, Lord, that I should boast,
Save in the death of Christ my God:
All the vain things that charm me most,
I sacrifice them to his blood.



See, from his head, his hands, his feet,
Sorrow and love flow mingled down:
Did e’er such love and sorrow meet,
Or thorns compose so rich a crown?



Were the whole realm of nature mine,
That were a present far too small;
Love so amazing, so divine,
Demands my soul, my life, my all
.


Douglas Bond is author of twenty-six books of historical fiction, practical theology, and biography, including The Poetic Wonder of Isaac Watts (Reformation Trust, 2014) from which this blog post is adapted, and the Mr. Pipes Series on hymnody for children and young adults. In addition to speaking at conferences and leading Church history tours, Bond is also lyricist of New Reformation Hymns and the Rise & Worship album (2017); books and cds are available at bondbooks.net, and you are invited to follow his podcast The Scriptorium at blogtalkradio.com/thescriptorium

[i] Jack Newfield, Who Really Invented Rock ‘n’ Roll? (New York, The Sun, September 21, 2004), on-line: http://www.nysun.com/arts/who-really-invented-rock-n-roll/2037/
[ii] Jeffery, English Spirituality in the Age of Wesley, 82.
[iii] Ibid.