{"id":11609,"date":"2016-04-12T06:42:01","date_gmt":"2016-04-12T05:42:01","guid":{"rendered":"http:\/\/archive.richardlittledale.co.uk\/?p=11609"},"modified":"2016-04-12T07:33:37","modified_gmt":"2016-04-12T06:33:37","slug":"the-magic-of-mystery","status":"publish","type":"post","link":"http:\/\/176.32.230.12\/richardlittledale.co.uk\/2016\/04\/12\/the-magic-of-mystery\/","title":{"rendered":"The magic of mystery"},"content":{"rendered":"
On weaving words<\/strong><\/span><\/p>\n For any preacher to write about mystery is a dangerous thing – since the real mystery with many sermons is why people bother listening to them at all. Linguistically slim, conceptually flat and tonally monochrome – they do little to engage or inspire. I know, because sometimes I have preached them.<\/p>\n At this point, enter Eugene Lowry with his potent little book The Homiletical Plot<\/em>.\u00a0Originally written over 30 years ago (and since re-issued<\/a>) , this slender volume still has an impact, and I continue to promote it whenever I can. Lowry’s plea to preachers was to take a leaf out of the book of those who write stories for a living – playwrights, screen-writers and novelists. He urged his readers to note how those people keep their audience on the edge of their seats. Just as there is more than one way to skin a cat – so there is more than one way to tell a story. The writers of the best stories forebear to deliver everything at the start, but rather they pay out their material, like a rope to a drowning man , over the length of their story. Writers like Amanda Jennings, whose latest book I reviewed on here <\/a>recently, are past masters at this.<\/p>\n