- Wed, Jan 06, 2010
- Writing
Do you find it easier to write a book set in a place you know really well or do you prefer to set your stories in fictional places?
It’s certainly easier to write about the places I know.
It’s certainly easier to write about the places I know.
I would recommend James Scott Bell (courtroom stuff—think John Grisham) and Al Gansky (high-tech adventure—think Tom Clancy).
I’ve tried outlining, and it works better with nonfiction for me, since fiction is so organic. While fiction has structure, it’s not as easy to control as nonfiction, because it has a life of its own. Your characters do tend to surprise you, and sometimes attempt insurrections. Of course you are still in charge and occasionally you must remind your characters of this. After all, they owe you their very names, which you are free to change at any time. Sometimes you must even threaten them with extinction.
The most challenging nonfiction has been Heaven. The most challenging fiction has been Dominion.
Why did you start writing fiction? What inspired you to write Deadline? Did you ever think you’d write a novel when you were my age (14)?
I wrote it because I wanted readers to see that at the heart of life is the choice of what we believe. Doc and Finney represented two conflicting world views, and Jake would have to choose between them. I also wanted readers to get a picture of eternity, a sense that the afterlife is real. I’ve written six novels now (Deadline was the first ...
I personally believe that Christian fiction can be fully honoring to Christ.
The history of Christian fiction is very big, very prominent. Take Pilgrim's Progress (1670s), a work of fiction. For a long time, people said it was the second-best selling book of all time. Besides the Bible itself, it is arguably one of the most influential books of all time, and it’s a work of fiction, an allegory.
Part 6 of the interview podcast with Mark Driscoll of The Resurgence.
Deception had been on my mind, off and on the back burner, for ten years.
Minor characters come quickly, usually, as they may have only a few distinguishable features. You usually don’t need to develop them too much, though you can certainly make them memorable. Major characters are different, because they must be complex, with depth and substance. You don’t want them to disappear when they turn sideways. The bad guys must be in some ways sympathetic, the good guys must be flawed.