Books Like These – by Frederick Buechner

The following meditation is from a talk on the occasion of the presentation of the Whiting Writers’ awards:

 

THE WRITERS WHO get my personal award are the ones who show exceptional promise of looking at their lives in this world as candidly and searchingly and feelingly as they know how and then of telling the rest of us what they have found there most worth finding. We need the eyes of writers like that to see through. We need the blood of writers like that in our veins.

 

* * *

 

J.D. Salinger’s The Catcher in the Rye was one of the first books I read that did it to me, that started me on the long and God knows far from finished journey on the way to becoming a human being—started making thahappen. What I chiefly learned from it was that even the slobs and phonies and morons that Holden Caulfield runs into on his travels are, like Seymour Glass’s Fat Lady, “Christ Himself, buddy,” as Zooey explains it to his sister Franny in the book that bears her name. Even the worst among us are precious. Even the most precious among us bear crosses. That was a word that went straight into my bloodstream and has been there ever since. Along similar lines I think also of Robertson Davies’ Deptford trilogy, Ford Madox Ford’s The Good Soldier, Rose Macaulay’s The Towers of Trebizond, George Garrett’s Death of the Fox, some of the early novels of John Updike like The Poorhouse Fair and The Centaur, John Irving’s A Prayer for Owen Meany. I think of stories like Flannery O’Connor’s “The Artificial Nigger” and Raymond Carver’s “Feathers” and works of non-fiction, to use that odd term (like calling poetry non-prose) such as Annie Dillard’s Holy the Firm and Geoffrey Wolff’s The Duke of Deception and Robert Capon’s The Supper of the Lamb or plays like Death of a Salesman or Our Town.

 

– Originally published in The Clown in the Belfry 

Read Your Work Aloud

I recommend you find places to read your work aloud.

 

A chance to teach, lecture, lead a retreat, speak at a workshop—all these give writers a chance to write a piece we can read aloud to an audience so we can hone our skills and see if what we are writing is worth the time it takes for someone to read it. There is no better way to see how a longer work is coming along than to read a portion aloud to a crowd of unsuspecting folks.

 

When you read a work aloud, you can tell if the tone of voice holds up. You can spot the holes in a story more quickly. You can tell when the thing is slowing to a crawl and when it is moving too quickly.

 

You can tell whether or not people are laughing in the right spots or reaching for their tissues when you hoped they might. You can tell when the work drags and when the work sings.

 

If you read your work aloud and you cannot tell any of those things, you may want to take up watercolors.

 

– Robert Benson

 

What Should Your Book Outline Include in Your Proposal?

by Angela Scheff

 

As you’re developing your proposal, it’s important to include information about your manuscript, but what exactly should it encompass?

 

Agents (and publishers) are looking for a book outline, something that will walk them through your book structure. A list of potential chapters is good, but if you’re trying to show movement when writing, having defined sections is important. Even if your book has an informal tone and is written in essay form, don’t discount the journey you as the author will be taking the reader on. Look at each chapter and see if you can identify some larger themes they would fall under and organize it that way.

 

For example, this is good:

 

Chapter 1: Title

 

Chapter 2: Title

 

Chapter 3: Title

 

Chapter 4: Title

 

Chapter 5: Title

 

Chapter 6: Title

 

Chapter 7: Title

 

Chapter 8: Title

 

Chapter 9: Title

 

Chapter 10: Title

 

Chapter 11: Title

 

Chapter 12: Title

 

Yet, the following may be better for a nonfiction manuscript (even if it doesn’t end up with parts in the final manuscript) as it clearly spells out the themes and movement for the agent/publisher.

 

Introduction: Title

 

Part I: Title

 

Chapter 1: Title

 

Chapter 2: Title

 

Chapter 3: Title

 

Chapter 4: Title

 

 

 

Part II: Title

 

Chapter 5: Title

 

Chapter 6: Title

 

Chapter 7: Title

 

Chapter 8: Title

 

 

 

Part III: Title

 

Chapter 9: Title

 

Chapter 10: Title

 

Chapter 11: Title

 

Chapter 12: Title

 

 

 

Conclusion: Title

 

Obviously, don’t force it if it doesn’t make sense in your manuscript, but as an agent, I personally appreciate when an author has thought through their manuscript this much and can identify more than their overview. You need to let us know how you’re going to achieve this.

 

Think of your outline like a map. You know the destination you want the readers to arrive at, but you need to include directions in order for the readers to get there. There could be different ways to do so, but as an author you want to take the readers on a specific journey.

 

Following the table of contents, proposals usually include chapter summaries. While you don’t have to have your entire manuscript written at the proposal stage, you do need to know what each chapter is about. This can also look differently. Some authors may include a paragraph. You could also highlight themes, stories, etc., something like this:

 

Part I: Title

 

This section is going to touch on this theme.

 

Chapter 1: Title

 

This is your one-sentence description.

 

Topics to include: topic 1, topic 2

 

Stories to include: story 1, story 2

 

Again, while your entire manuscript doesn’t have to be written, you need to be able to convey to agents/publishers what you’re writing about and the map of how you’re going to get there.

 

One last piece of advice: While I’m very pro-plan when putting your proposal together, I absolutely understand chapters can take a different direction when you actually sit down to write it. Don’t be a slave to your map as your writing may want to take the scenic route, but do keep your publisher and editor informed if you change directions and you’re under contract.

 

 

Whether or Not It Has An Audience

Creative work is also worthy whether or not it has an audience. Much of the work you do will be more for your personal development than for anyone else’s needs. Your task is to engage in the work you are called to do. I’ve written a dozen or more short stories, several of them very meaningful to me. One of them was published several years ago; the rest are in a file that I return to from time to time, but I have no hopes of selling them, and I rarely share them with anyone else. I don’t think those stories are really good enough for an audience, but they were good enough for me when I wrote them. They helped my writing progress, and they satisfied something for me personally, and that’s enough.

 

– from “The Soul Tells a Story: Engaging Creativity with Spirituality in the Writing Life” by Vinita Hampton Wright Loyola Press

 

The Greatness Myth

Writers like to hold up the myth of Jack Kerouac’s On the Road as a paradigm of possibility: He wrote it in three weeks! It was perfect! It’s a great American novel! Kerouac thought so too when he rushed into Robert Giroux’s office in 1955. When Giroux told him the manuscript needed editing, Kerouac insisted it was dictated “by the Holy Ghost” and stormed out. Then he spent six years revising, polishing, and shopping it around before On the Road found a home with Viking.

Why do we have collective amnesia about those six years? We want to slide down a shimmering writing rainbow to the pot of gold. We want to be told we’re a genius; we want to knock an editor’s socks off with a first draft. We’re attached to the idea of Kerouac typing in an ecstatic rush and hitting the writer’s jackpot because that means such ease, inspiration, and recognition are possible for us. Six years of revision tarnish the myth, as do the three years Kerouac spent taking notes and formulating his story before he began composing. Three weeks of fun appeal to us more than nine years of effort.

The myth of On the Road does a disservice to writers everywhere. Good stories rise up from inspiration and labor, over great lengths of time. Your draft, however brilliant, can mature and likely must mature before it engages an audience. That your writing will benefit from more work says nothing about your value as a human being or your skills as a writer.

Every writer needs a healthy, ambitious ego. You need chutzpah to generate an idea and consider it worthy, to get your butt into the chair, to plow through initial and many consequent drafts, and to seek publication. But the desire for greatness to come easily is the ego in hyperdrive. The ego is necessary to write; the ego’s attachments interfere with life-giving creativity. No one can serve two masters.

“The impulse to improve is . . . a sign of humility, of bowing one’s neck before the humbling undertaking of learning how to be worth one’s salt as a writer,” writes Richard Tillingast. In religious traditions, humility is the awareness of oneself as one really is. This direct, honest gaze does not come easily, as any writer who’s experienced the highs of inspiration and the crashing lows of denigration can attest. But an ongoing practice of gazing at what is supports both our stories’ growth and our own. “In humility is the greatest freedom,” Thomas Merton writes in New Seeds of Contemplation. “As long as you have to defend the imaginary self that you think is important, you lose your peace of heart.” The greatest potential for our creative work comes when we’ve humbly acknowledged our limitations, stopped feeding the ego, and applied our energy to the story. Only then is growth possible.

 

from “Living Revision: A Writer’s Craft as Spiritual Practice” by @Elizabeth Jarrett Andrew @Skinner House

Bach’s Secret Weapon

from “Adorning the Dark” by Andrew Peterson

 

I remember lying on my bed in high school with two cabinet speakers on either side of my head, listening to Pink Floyd’s A Momentary Lapse of Reason, getting delightfully lost in the music and wondering how on earth this band of Brits transferred their music to two-inch tape, then to cassette, then to the record store, then to Lake Butler, Florida, to my speakers, to my ears, and finally to my adolescent noggin.

So with just a few chords under my fingers and a whole lot of ambition, not to mention the absence of enough guys in my little town to really start a band, I decided to try and figure out how to make music. I saved up four hundred bucks that I earned mowing yards and stocking shelves at the local IGA and bought a Tascam four-track recorder, a machine I was certain would revolutionize my life—not just musically but relationally, since now I would be able to prove to the girls in school that I was worth something. “You see,” I imagined myself explaining to them, “I can record four separate tracks onto just one cassette, which allows me to play the bass, the guitar, the drums, and sing, then mix it all together for your listening pleasure, ladies,” at which point their eyes would flutter and they would faint to the floor in a pile of crimped hair and leg warmers.

But that was just the recording gear. I also needed a studio. Enter my pal Wade Howell, also known as the Conundrum. He was a football player who was also a part-time atheist, a saxophonist, guitarist, and Dungeon & Dragons gamemaster. Needless to say, we were fast friends. (For the record, Wade ended up going to seminary and is now a pastor and a fine family man.) Our senior year of high school Wade’s grandfather died and left him a single-wide trailer in the woods, where we set up an old drum kit and a few mics I scavenged from the church sound cabinet. After school, while Wade was at football practice, I often sped down the sandy road in my Dodge Omni to the trailer, plugged in Wade’s electric guitar, and pretended I was David Gilmour or Tom Petty. Once, because my girlfriend liked Garth Brooks, I used my trusty Tascam to record the drums, piano, bass, and vocals for the song “The Dance.” What I wouldn’t give to know where that cassette is now.

But after the first few months with the Tascam, the magic was gone. I didn’t want to just record Skynyrd songs. I wanted to make my own. But I had no idea what to sing about, and the few songs I managed to write were even worse than I thought they were at the time. I played them bashfully for my buddies, enjoying the feeling of having made something even though I was inwardly discontent. It strikes me now that I was in possession of an inner-critic even then, which agitated me. I wanted to be content with my lame songs, but I couldn’t be. Whatever pride I felt was in having made something—anything at all—not necessarily in the quality of what had been made. So I shared my songs with the few friends who cared to hear them, and felt good when they liked them, but was discontent without knowing why. Not long after graduation, I joined a rock band and sold the Tascam, figuring that I’d leave recording to the experts and focus on rocking instead.

Fast-forward two years. The rocking was safely behind me. I was now in college, married, and taking serious steps with our band Planet X to record a demo. At the time, I had no idea there was such a thing as indy music. As far as we knew, the game plan was to record a demo and shop it around in Nashville. So Lou, the only guy in the band with any money, bought some gear, and we set out to record our stuff after-hours in the college practice rooms. It turned out fine enough, but it was a far cry from what it needed to be. Eventually the band broke up. I started doing my own concerts, and I realized I had enough of my own songs to record a short album. I borrowed $3,000 from my grandma, took a Greyhound to Nashville (just like they do in the movies), was picked up at the bus station by my old roommate Mark Claassen, and spent the weekend recording my independent record Walk.

It was terrifying, exhilarating, and exhausting. We were in a real studio. We hardly slept. We recorded, mixed, and mastered eight songs in 2.5 days. I took the Greyhound home (a grueling twenty-six hour trip, what with all the bus stops), a twenty-two-year-old kid with a shiny, $3,000 CD in his guitar case and not a dime to his name. Jamie, of course, was all-in, as she’s always been. That little eight-song CD was what I sold at concerts for the next three years, and I’ll be forever glad for the way it paid the rent. But the farther I got from it the more I loathed it. I became painfully embarrassed at my voice, my pitch, and my songs, because I had come to know better. I had toured with Caedmon’s Call for fifty shows, which exposed me to some great music and a much better understanding of what it meant to be a songwriter; I was no longer doing the Florida church camp circuit, but was trying to make a go of a real career, and that meant I could no longer be content with my mediocre best. I had to work at it, learn to be objective, and—this is the big one—to ask for help, help, help.

Which brings me to that day in East Nashville, fifteen years later, when I walked into Cason Cooley’s studio, a warm room strung with lights and fragrant with incense, jammed full of guitars and pianos and books, and sat down with my friends to start a new project. I looked around, thinking about all the other times I had done this very thing, marveling at how little I still knew about it. What do we do first? Do we sit around and play the songs for a day? Do we record scratch guitars? Do we pore over lyrics first? In some ways, it’s like looking at a hoarder’s house and wondering where to begin the cleanup. It’s also like looking out at a fallow field, steeling your resolve to tame it, furrow it, and plant—but you know it’s littered with stones and it’s going to be harder than you think.

I was a grownup. This wasn’t my first rodeo. I shouldn’t have felt that old fear, anxiety, or self-doubt, right? Then again, maybe I should have. As soon as you think you know what you’re doing, you’re in big trouble. So before we opened a single guitar case, we talked. I sat with Ben Shive, Andy Gullahorn, and Cason and told them I felt awfully unprepared. I doubted the songs. I was nervous about the musical direction the record seemed to want to take. I wondered if I was up to the task. I told them about the theme that had arisen in many of the songs: loss of innocence, the grief of growing up, the ache for the coming kingdom, the sehnsucht I experience when I see my children on the cusp of the thousand joys and ten thousand heartaches of young-adulthood.

Then we prayed. We asked for help.

If you’re familiar with Bach, you may know that at the bottom of his manuscripts, he wrote the initials, “S. D. G.” Soli Deo Gloria, which means “glory to God alone.” What you may not know is that at the top of his manuscripts he wrote, “Jesu Juva,” which is Latin for “Jesus, help!” There’s no better prayer for the beginning of an adventure. Jesus, you’re the source of beauty: help us make something beautiful; Jesus, you’re the Word that was with God in the beginning, the Word that made all creation: give us words and be with us in this beginning of this creation; Jesus, you’re the light of the world: light our way into this mystery; Jesus, you love perfectly and with perfect humility: let this imperfect music bear your perfect love to every ear that hears it.

We said, “Amen.”

Then I took a deep breath, opened the guitar case, and leapt.

Not a Moment, But a Way of Life

The Bible’s idea of carpe diem, “seize the day,” or “redeeming the time” is sharply different from the direction to which most people take the ideal—toward the selfish, the short term, and the purely spontaneous. There is no surer foundation, no stronger propulsion, and no more soaring vision of carpe diem than within the biblical or covenantal view of time. Yet just as freedom is not “the permission to do what you like” but “the power to do what you should,” so “seizing the day” is far more than the matter of bare choice—Krznaric’s “that you choose rather than what you choose.” Why you choose, how you choose, and what you choose are all vital and decisive factors in the Bible’s understanding.

 

As we have seen already, repentance and forgiveness are the key to “redeeming the time” in terms of the past, and notions such as sabbath and sabbaticals are a key to redeeming the time in terms of the present. But what of redeeming the time in terms of the future, as “Carpe Diem” is usually understood? Seizing the day or redeeming future time is rising to life within a powerful matrix of truths that sets out an entire way of life in which the ideal of carpe diem can come to its highest fruition. God calls us in the flux and flow of time and history, and the gift of being able to seize the day flowers from a way of life that weaves together three principles: “Walk before God,” “Read the signs of the times,” and “Serve God’s purpose in your generation.”

 

Taken from Carpe Diem Redeemed by Os Guinness. Copyright (c) 2019 by Os Guinness. Published by InterVarsity Press, Downers Grove, IL. https://www.ivpress.com/carpe-diem-redeemed

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