How to Write Strong Women in Fiction without Making Them Feminists

Writing Christian fiction involves much more than mentioning God a few times or showing a character attending church once. Christian fiction encompasses the whole worldview behind your characters. Loyalty. Courage. Hope. Kindness. Love. No character is perfect, but the worldview presented and the conclusions reached by the main characters ought to mirror the teachings of Scripture. This is true, not only of emotional and mental themes, but of all the details in your story—including the portrayal of gender roles, which is often ravaged by secular (and sometimes Christian) fiction.How_to_Write_Strong_Women_in_Fiction

I am not just talking about a proper view of marriage or the fact that God created us male and female. In a biblical worldview, men and women have different tasks and roles of authority in which the woman is a helpmeet to the man. [Read more…]

Profile photo of Hope Ann
Hope Ann is a Christian wordsmith, avid reader, and dedicated authoress. Her time is taken up with writing, reading, archery, knife throwing, playing with inspirational photos, helping care for the house and eight younger siblings, and generally enjoying the adventures of life on a small farm at the crossroads of America. She has self-published fairy tale retellings on Amazon and is currently working on several projects including a fantasy novel and futuristic trilogy. You can find out more about Hope and her work on her website as well as links to download her first Legends of Light novella for free!

Five Myths about Writing Strong Female Characters

Of all the overdone stereotypes currently at loose in literature and on the screen, the Strong Female Character annoys me the most. Strong Females have infested filmmaking to the degree that directors seem to think it’s no longer optional to include one. In hand-to-hand combat, a female warrior is often portrayed as equal, if not superior, to a male triple her size. Yet, despite the innumerable Strong Females marketed to us (Katniss, Jyn, Triss, Rey), I find myself struggling to relate to any of them.5_Myths_about_Writing_Strong_Female_Characters

I am aware that as a female I tend to be more critical of my own sex. I also acknowledge that although I am not capable of singlehandedly thwarting three armed assailants trying to steal my BB-8 droid, that does not necessarily imply no woman can. But in a culture proclaiming that gender is an arbitrary social construct while simultaneously bewailing a lack of female presidents, it is important that Christian authors reaffirm what it means to be a woman. Here is an opportunity for us to stand out from the empty noise by avoiding five common mistakes when writing Strong Female Characters. [Read more…]

Profile photo of Sierra
Sierra Ret is a homeschool student who spent nearly her entire childhood with her nose buried in a book, and consequently decided she wanted to write one of her own (preferably filled with dwarves and elves). Actually getting her thoughts down on paper regularly has proven to be a far greater challenge than she first thought, but Kingdom Pen was kind enough to step in and give her some much-needed deadlines by honouring her with a temporary spot on their writing team. When not hermiting behind a laptop screen, Sierra enjoys gallivanting across Canada and adventuring near her home in rural Ontario with her family. Currently her chief fantasies include making a living as a travel blogger and someday moving to New Zealand. But above all, her chief aim is to live a passionate and meaningful life for the glory of God.

Make Your Protagonists Hate Each Other in Four Easy Steps

One of the biggest mistakes you can make as a writer is to allow all your protagonists to get along with each other.

Many of us are inclined to do this because we love our characters. The protagonists are all working together toward the same goal, right? So why shouldn’t they have a harmonious relationship?

But this habit keeps writing from being great—and kills the story.protagonsitspost

Last summer, I read a Christian fantasy work which bored me to tears for a simple reason: the four or five protagonists always got along and never had any conflicts that weren’t immediately resolved with an apology. [Read more…]

Profile photo of Josiah DeGraaf
Josiah DeGraaf started reading when he was four, started writing fiction when he was six and hasn’t stopped doing either ever since. After growing up with seven younger siblings, he eventually found himself graduated and attending Patrick Henry College, where he plans on majoring in literature with a minor in pedagogy (it’s a fancy Greek word for education).
Someday, Josiah hopes to write fantasy novels that have worlds as imaginative as Brandon Sanderson’s, characters as complex as Orson Scott Card’s, character arcs as dynamic as Jane Austen’s, themes as deep as Fyodor Dostoyevsky’s, and stories as fun as Wayne Thomas Batson’s. Plans for obtaining those impossible goals include listening to a lot of Hans Zimmer, ignoring college work so that he can find time to write, and avoiding coffee at all costs.

How God Fits into Character Archetypes

By Mark Kamibaya

The character archetype system (roles that characters play in a story) is used by many authors. It was invented by Swiss psychiatrist Carl Jung (basically Sigmund Freud version 2.0 but without all the libido). Carl Jung broadened the field that Sigmund Freud revolutionized. He coined the labels extrovert, introvert, sensing, feeling, thinking, and intuiting (the basis for the Myers-Briggs Personality Types) and gave authors character archetypes.how_god_fits_into_character_archtypes

According to the original list by Carl Jung, there are twelve archetypes: the Innocent, Everyman, Hero, Caregiver, Explorer, Rebel, Creator, Lover, Jester, Sage, Magician, and Ruler, none of which are bound by genre. [Read more…]

Four Tips for Creating a Compelling POV

A week ago, I talked about why the portrayal of a character’s internal thoughts and emotions is inherent to the novel, and how excluding that component can hinder the potential of your story. However, crafting a distinct, compelling POV (point-of-view) isn’t as simple as inserting more of your character’s emotions or thoughts into the book. We’ve all read that novel where a character overanalyzes something to death or is so emotional that the whole book becomes melodramatic and annoying. It’s important to portray characters’ thoughts and emotions, but it takes practice and skill to do it well.compellingpovpost

Here are four tips to help you accomplish this.

1. Capture the Character’s Ethos

One of the biggest mistakes you can make when delving into a character’s mind is to be generic. Bland. Normal. Boring. [Read more…]

Profile photo of Josiah DeGraaf
Josiah DeGraaf started reading when he was four, started writing fiction when he was six and hasn’t stopped doing either ever since. After growing up with seven younger siblings, he eventually found himself graduated and attending Patrick Henry College, where he plans on majoring in literature with a minor in pedagogy (it’s a fancy Greek word for education).
Someday, Josiah hopes to write fantasy novels that have worlds as imaginative as Brandon Sanderson’s, characters as complex as Orson Scott Card’s, character arcs as dynamic as Jane Austen’s, themes as deep as Fyodor Dostoyevsky’s, and stories as fun as Wayne Thomas Batson’s. Plans for obtaining those impossible goals include listening to a lot of Hans Zimmer, ignoring college work so that he can find time to write, and avoiding coffee at all costs.

Revolutionize Your Writing by Deepening Your Characters

By definition, what is a novel?

At first glance, the answer may seem simple: it’s a prosaic work of fiction that meets a certain word count and is bound up in book form. But if you look into the issue more deeply, you’ll see it’s trickier to explain what makes a novel distinct. Epics, plays, short stories, and poems all represent other forms of literature that existed before the novel was essentially invented by Miguel Cervantes in 1605 with the publication of Don Quixote. When compared with these other forms of literature, what unique qualities does the novel have to lend?deepenyourcharacters

Last semester, I took a college course that explored the attributes of the novel. The more we studied the novel in the course, the clearer it became to me that the novel is distinct for its focus on the inner minds of its characters.

Properly expanding the inner lives of characters can be a difficult skill to master for writers. If we delve into it too much, it’s easy to make our characters seem melodramatic and angsty. So it can be tempting to avoid such a portrayal by describing characters through their actions only. [Read more…]

Profile photo of Josiah DeGraaf
Josiah DeGraaf started reading when he was four, started writing fiction when he was six and hasn’t stopped doing either ever since. After growing up with seven younger siblings, he eventually found himself graduated and attending Patrick Henry College, where he plans on majoring in literature with a minor in pedagogy (it’s a fancy Greek word for education).
Someday, Josiah hopes to write fantasy novels that have worlds as imaginative as Brandon Sanderson’s, characters as complex as Orson Scott Card’s, character arcs as dynamic as Jane Austen’s, themes as deep as Fyodor Dostoyevsky’s, and stories as fun as Wayne Thomas Batson’s. Plans for obtaining those impossible goals include listening to a lot of Hans Zimmer, ignoring college work so that he can find time to write, and avoiding coffee at all costs.

Three Ways to Use Death in Storytelling

Our theme for this month was death, which might seem like an odd theme to encourage young writers to focus on. Is it healthy for Christians to dwell on death? Isn’t the difference between us and the world that we don’t focus on death in the way that it does?

On the contrary, however, death is central to the Christian faith.death_in_storytelling-1

The cross obviously stands central in Christianity. But it isn’t just Christ’s death that is central to the Christian faith. It’s our own deaths as well. Our spiritual death in Genesis 3 sets the whole plan of salvation in motion. And the reality of our physical death urges us to make the most of our time on earth by winning others to Him.

I once heard a pastor say that his goal was to teach his congregation how to die well. Death is, after all, the final test in our lives and the point where we need to have either accepted or rejected the claims of Christ.

Death is central to the Christian faith. By extension, therefore, it ought to be central to our storytelling. Although not all stories that Christians write need to encompass death, it ought to still have a prominent role overall, and when we use death in our stories, here are three ways it can be done biblically. [Read more…]

Profile photo of Josiah DeGraaf
Josiah DeGraaf started reading when he was four, started writing fiction when he was six and hasn’t stopped doing either ever since. After growing up with seven younger siblings, he eventually found himself graduated and attending Patrick Henry College, where he plans on majoring in literature with a minor in pedagogy (it’s a fancy Greek word for education).
Someday, Josiah hopes to write fantasy novels that have worlds as imaginative as Brandon Sanderson’s, characters as complex as Orson Scott Card’s, character arcs as dynamic as Jane Austen’s, themes as deep as Fyodor Dostoyevsky’s, and stories as fun as Wayne Thomas Batson’s. Plans for obtaining those impossible goals include listening to a lot of Hans Zimmer, ignoring college work so that he can find time to write, and avoiding coffee at all costs.

Questions to Consider Before Killing Off a Character

As writers, we are sometimes accused of gloating or chuckling evilly to ourselves in dark castles over the sorrow we cause readers when we kill favorite characters. I won’t confirm or deny that, but I will say that writers who reap tears from readers will feel the deep satisfaction of a job well done, because they’ve made readers care about the characters.deathquestions

But whether we weep over our characters’ deaths, rub our hands and grin over them, or indulge in both reactions by turn, several points must be considered when deciding if a character needs to die, how he should die, and the end result.

Does Your Character Really Need to Die?

Not everyone has to die. Otherwise no one would be left to mourn the deceased, and where’s the fun in that? Also, sequels tend to need living characters to fill the pages and bring readers back to your stories. In all seriousness though, depending on what you are writing, it’s likely that a character (or two, or ten) will die—but you must have a reason. [Read more…]

Profile photo of Hope Ann
Hope Ann is a Christian wordsmith, avid reader, and dedicated authoress. Her time is taken up with writing, reading, archery, knife throwing, playing with inspirational photos, helping care for the house and eight younger siblings, and generally enjoying the adventures of life on a small farm at the crossroads of America. She has self-published fairy tale retellings on Amazon and is currently working on several projects including a fantasy novel and futuristic trilogy. You can find out more about Hope and her work on her website as well as links to download her first Legends of Light novella for free!

True Courage

‘Success is never final, failure is never fatal. It’s the courage that counts.’

While this quote from John Wooden might not be literally accurate in every instance, there is a good amount of truth in it. In writing, and in life too, one success won’t establish your character forever. It will build him up, giving him strength for the next challenge, but more challenges will come. And it is during failure that a character learns the most valuable lessons. But, in success or in failure, a character’s courage or lack thereof will affect how they act and react, no matter what the theme of your story. truecourage

Courage, as defined by the Merriam-Webster dictionary is the ‘mental or moral strength to venture, persevere, and withstand danger, fear, or difficulty.’ Or, as the common saying goes, courage is not the absence of fear, but rather the ability to continue on despite fear. A character needs courage to move forward, to lead, to make decisions and then hold up those decisions. They’ll need to fight, to rescue, to confront… they might not feel brave, but they continue forward anyway, even when there seems to be no hope. Without courage, a character will have a hard time making any sort of rational decision and then sticking to it.

For some characters, gaining courage might be part of the plot.

[Read more…]

Profile photo of Hope Ann
Hope Ann is a Christian wordsmith, avid reader, and dedicated authoress. Her time is taken up with writing, reading, archery, knife throwing, playing with inspirational photos, helping care for the house and eight younger siblings, and generally enjoying the adventures of life on a small farm at the crossroads of America. She has self-published fairy tale retellings on Amazon and is currently working on several projects including a fantasy novel and futuristic trilogy. You can find out more about Hope and her work on her website as well as links to download her first Legends of Light novella for free!

The Bildungsroman: What It Is and How to Write One

The transition from childhood to adulthood is an important transition that everyone has to make.  So it shouldn’t be too surprising to find that this transition is a common motif in literary works.  Coming of age stories are staples among children and YA literature, but all of this may raise some questions.  What exactly makes a story a coming of age story?  Does a character just need to be at a certain age, or does a story need certain elements to qualify?  And how do you write a coming of age novel?  This is potentially a large topic, but in this article, I’ll try to sketch out the basic elements of a coming of age novel and then examine how to do one well.  bildungsromanpost

In the literary field, a coming of age novel is often known by the German term, bildungsroman, which means a novel of formation, education, or culture.  This is an important element of the coming-of-age novel to understand:

“The story often represents a time of formation where the protagonist has to figure out who he is and where his place is in the world.  At the beginning of the book, the protagonist often has a lot of potential, but lacks refinement and solidarity of character—something he’s going to have to gain by the story’s end.”

Many times, this bildungsroman will have a plot resembling the hero’s journey.  Unpacking what all the hero’s journey looks like would take longer than I have space for in this article, but if you’re unfamiliar with the term, this video does a pretty good job of showing what the stereotypical hero’s journey looks like:

Essentially, the young protagonist is sent out on some sort of mission in order to save the community he grew up in and, in the process of doing so, end up discovering himself as well. [Read more…]

Profile photo of Josiah DeGraaf
Josiah DeGraaf started reading when he was four, started writing fiction when he was six and hasn’t stopped doing either ever since. After growing up with seven younger siblings, he eventually found himself graduated and attending Patrick Henry College, where he plans on majoring in literature with a minor in pedagogy (it’s a fancy Greek word for education).
Someday, Josiah hopes to write fantasy novels that have worlds as imaginative as Brandon Sanderson’s, characters as complex as Orson Scott Card’s, character arcs as dynamic as Jane Austen’s, themes as deep as Fyodor Dostoyevsky’s, and stories as fun as Wayne Thomas Batson’s. Plans for obtaining those impossible goals include listening to a lot of Hans Zimmer, ignoring college work so that he can find time to write, and avoiding coffee at all costs.