Thursday, September 06, 2007

Radio Plays


The Source of Adventure


Based on the life of Merlin Carothers, author of “Prison to Praise”, this radio play follows a young man in search of excitement. He tries the army, gambling, girls, and crime, but none of these satisfy his craving. Finally an encounter with the Lord Jesus Christ reveals the true source of adventure. Includes 11 character voices, with no more than 4 used in any one scene. Excellent variety in sound effects.

Where Are Your Ears?


Adapted from the puppet play by Isabel Worboys, this story pinpoints the problem of allowing music to create a private world which isolates the individual from life and from God’s voice. In three scenes, we meet jokey teens Fern and Louis and learn along with Fern how dangerous her auditory inattention can be, especially when there are locomotives around. Three character voices and great use of sound effects.


These scripts are available in a pack of 6 for NZ$ 30.

Thursday, August 23, 2007

Puppet Scripts

Please read Choosing a Play, Not a Skit and Warning re. use of Technicians in the Puppetry Tips post.
The following scripts are available in a pack of 6 (2 puppeteers, 1 sound technician, & 3 judges) for NZ$ 30. Enquiries to kyriellepublishing@xtra.co.nz

Where Are Your Ears?
Isabel Worboys wrote this play after a series of fatal car/train collisions shocked New Zealand in 1993. Official reports stated that in each of the 6 cases the crossing bells and lights were operating. Isabel suspected these tragedies were a result of the motor vehicle drivers being distracted by loud music and so not hearing the warning signals nor checking it was safe to cross.
This three-scene play sets up a similar situation, featuring great props and sound effects and an affectionate, jokey friendship between a teenage girl and boy and his concern about her frequent auditory inattention. She survives being 'trained', and realizes it's time to open her ears and let God train her.

By the way, throughout a busy puppet ministry this was my all-time favourite puppet play to perform.

Grandpa’s Coal Basket

Using the analogy of a leaky coal basket and frequent trips to the river to teach children the importance of reading the Bible daily, this puppet play features plenty of action, strong use of props, set, and backdrop, and personable grandparent and grandchild characters. Provision is made for a sound technician to insert musical interludes and sound effects such as doors slamming and a rocking chair creaking.
The characters are not gender-specific, so casting is flexible. The masculine gender (Grandpa and Grandson) has been employed in the script in order to gain flow and character.



Friday, June 29, 2007

Clown Acts


Bubbles shares the cry of her heart


The following Clown Acts are available for NZ$ 30 per pack.

Calling Jesus
Adapted from a puppet play, this child-like monologue explores the mystery of speaking to Jesus—without having to yell or use the telephone or get killed—along with the need for a clean heart. Styled with light humour and pathos, this is a lively piece featuring a range of interesting props, character voices, and mime, closing with the song “Jesus Took My Burden All Away” (sheet music included).

I’m Gonna Grow!
A light-hearted message on the importance of spiritual growth, this Clown Act features the clown planting itself in a pot and applying resources suitable for plant enhancement. When this doesn’t alter the clown’s appearance, it realizes that spiritual growth isn’t quite the same as tree growth. With a series of puns, the clown then explores fruit production and challenges the audience to produce fruit in their own lives.

Adapted from a performance by “Yo-Yo” in 1990, this Clown Act was the first of the genre at a New Zealand Student Convention. “Bubbles” with her extraordinary voice, her ridiculous efforts to grow, and her outrageous association of fruit and vegetable names with spiritual characteristics left an indelible impression upon those at South Island Student Convention in 1992.

Ye Must Be Born Again
A mime-intensive message with inexpensive props, this Clown Act utilizes audience participation to the maximum. The Clown sets up a Hen/egg/Chick analogy based on a pithy John Bunyan quote, then demonstrates the spiritual application with the assistance of volunteers. Getting the audience to read messages aloud means the Clown is not required to speak. The concept is simple, but memorable.



Street Clowning in Manners Mall, Wellington, New Zealand



Sunday, April 29, 2007

Poetry with Punch

Looking for a powerful poem but haven't found anything you like in "742 Heartwarming Poems"? This portion of the post harbours poetry heavyweights, verses with a reputation for winning gold.

If you know a poem that should be listed here, please email kyriellepublishing@xtra.co.nz


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I heard Adrian Plass read "When I Became a Christian" on a radio broadcast. If you ever get the opportunity to hear him read his own material, take it! He's terrific. See www.AdrianPlass.com

Using my recording of Mr. Plass' radio broadcast to assist his training, Ryan Schwartz won gold for his recitation of "When I Became a Christian" at International Student Convention in 1997.


WHEN I BECAME A CHRISTIAN
(printed with permission)
Adrian Plass


When I became a Christian, I said, “Lord, now fill me in,
Tell me what I'll suffer in this world of shame and sin.”
He said, “Your body may be killed and left to rot and stink.
Do you still want to follow me?” I said, “Amen—I think.
I think Amen, Amen I think, I think I say Amen.
I'm not completely sure. Can you just run through that again?
You say my body may be killed and left to rot and stink.
Well, yes, that sounds terrific, Lord. I say Amen—I think.”

“But, Lord, there must be other ways to follow you,” I said.
“I really would prefer to end up dying in my bed.”
“Well, yes,” he said, “you could put up with the sneers and scorn and spit.
Do you still want to follow me?” I said, “Amen—a bit.
A bit Amen, Amen a bit, a bit I say Amen.
I'm not entirely sure. Can we just run through that again?
You say I could put up with sneers and also scorn and spit.
Well, yes, I’ve made my mind up, and I say, Amen—a bit.”

Well, I sat back and thought a while, then tried a different ploy.
“Now, Lord,” I said, “the Good Book says that Christians live in joy.”
“That's true,” he said, “you need the joy to bear the pain and sorrow.
So do you want to follow me?” I said, “Amen—tomorrow.
Tomorrow, Lord, I'll say it then, that's when I'll say Amen.
I need to get it clear. Can I just run through that again?
You say that I will need the joy to bear the pain and sorrow.
Well, yes, I think I've got it straight. I'll say Amen—tomorrow.”

He said, “Look, I'm not asking you to spend an hour with me,
A quick salvation sandwich and a cup of sanctity.
The cost is you. Not half of you, but every single bit.
Now tell me, will you follow me?” I said, “Amen—I quit.
I'm very sorry, Lord,” I said, “I'd like to follow you,
But I don't think religion is a manly thing to do.”
He said, “Forget religion then, and think about my Son,
And tell me if you're man enough to do what he has done.

“Are you man enough to see the need, and man enough to go;
Man enough to care for those whom no one wants to know;
Man enough to say the thing that people hate to hear;
To battle through Gethsemane in loneliness and fear?
And listen! Are you man enough to stand it at the end,
The moment of betrayal by the kisses of a friend?
Are you man enough to hold your tongue, and man enough to cry?
When nails break your body-are you man enough to die?
Man enough to take the pain, and wear it like a crown;
Man enough to love the world and turn it upside down;
Are you man enough to follow me? I ask you once again.”
I said, “Oh Lord, I'm frightened,” but I also said, “Amen.
Amen, Amen, Amen, Amen; Amen, Amen, Amen.”
I said, “Oh Lord, I'm frightened,” but I also said, “Amen.”


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The following poem is a portion of a famous 7-minute sermon by Dr. S. M. Lockridge. You can listen to Dr. Lockridge here.

THAT'S MY KING

S. M. Lockridge

The Bible says my king is the king of the Jews;
He's the king of Israel;
He's the king of righteousness.
He's the king of the ages.
He's the king of heaven.
He's the king of glory.
He's the king of kings and
He's the Lord of Lords.
That's my king.
Well, I wonder, do you know Him?

No means of measure can define His limitless love.
No far-seeing telescope can bring into visibility the coastline of his shoreless supply.
No barrier can hinder Him from pouring out His blessings.
He's enduringly strong.
He's entirely sincere.
He's eternally steadfast.
He's immortally graceful.
He's imperially powerful.
He's impartially merciful.
Do you know Him?

He's the greatest phenomenon that has ever crossed the horizon of this world.
He's God's Son.
He's the sinner's Savior.
He's the centerpiece of civilization.
He stands in the solitude of Himself.
He's august and He's unique.
He's unparalleled.
He's unprecedented.
He is the loftiest idea in literature.
He's the highest personality in philosophy.
He is the supreme problem in higher criticism.
He's the fundamental doctrine of true theology.
He's the core, the necessity for spiritual religion.
He's the miracle of the age. Yes, He is.
He's the superlative of everything good that you choose to call Him.
He's the only one qualified to be an all all-sufficient Savior.
I wonder if you know Him today.

He supplies strength for the weak.
He's available for the tempted and the tried.
He sympathizes and He saves.
He strengthens and sustains.
He guards and He guides.
He heals the sick.
He cleanses the leper.
He forgives sinners.
He discharges debtors.
He delivers the captive.
He defends the feeble.
He blesses the young.
He serves the unfortunate.
He regards the aged.
He rewards the diligent.
And He beautifies the meek.
I wonder if you know Him.

Well, this is my king.
He's the key to knowledge.
He's the wellspring of wisdom.
He's the doorway of deliverance.
He's the pathway of peace.
He's the roadway of righteousness.
He's the highway of holiness.
He's the gateway of glory.
Do you know Him?

Well, His office is manifold.
His promise is sure.
His life is matchless.
His goodness is limitless.
His mercy is everlasting.
His love never changes.
His word is enough.
His grace is sufficient.
His reign is righteous and His yoke is easy and His burden is light.
I wish I could describe Him to you.

He's indescribable.
He's incomprehensible.
He's invincible.
He's irresistible.
Well you can't get him out of your mind.
You can't get him off your hands.
You can't outlive Him and
You can't live without Him.

The Pharisees couldn't stand Him,
But they found they couldn't stop Him.
Pilate couldn't find any fault in Him.
The witnesses couldn't get their testimonies to agree.
Herod couldn't kill Him.
Death couldn't handle Him, and
The grave couldn't hold Him.
Yes! That's my king!


In 1999, young Ian Bauke recited "There's Just Nobody Like Him" as a command performance at International Student Convention. The power and enthusiasm of his presentation brought the audience alive. The poem is another piece by S. M. Lockridge, similar in style and format to "That's My King". If you have the text of "There's Just Nobody Like Him", please could you send it to kyriellepublishing@xtra.co.nz !
I do not know if the following poem has a golden record, but its style is similar to "That's My King" and "There's Just Nobody Like Him", and it has just as much potential. In fact, although it is labelled as 'author unknown', the style is so similar that I suspect it is indeed an S. M. Lockridge piece. If you can confirm this detail, please email kyriellepublishing@xtra.co.nz !


HE IS……

Author unknown


He is the First and Last, the Beginning and the End!
He is the keeper of Creation and the Creator of all!
He keeps the Architect of the universe and the Manager of all times.
He always was, He always is, and He always will be...
Unmoved, Unchanged, Undefeated, and never Undone!
He was bruised and brought healing!
He was pierced and eased pain!
He was persecuted and brought freedom!
He was dead and brought life!
He is risen and brings power!
He reigns and brings Peace!
The world can't understand him,
The armies can't defeat Him,
The schools can't explain Him, and
The leaders can't ignore Him.
Herod couldn't kill Him,
The Pharisees couldn't confuse Him, and
The people couldn't hold Him!
Nero couldn't crush Him,
Hitler couldn't silence Him,
The New Age can't replace Him, and
Donahue can't explain Him away!
He is light, love, longevity, and Lord.
He is goodness, Kindness, Gentleness, and God.
He is Holy, Righteous, mighty, powerful, and pure.
His ways are right,
His word is eternal,
His will is unchanging, and
His mind is on me!
He is my redeemer,
He is my Savior,
He is my guide, and
He is my peace!
He has invested more in me than anyone else ever could or ever will—
He is my Joy,
He is my comfort,
He is my Lord, and
He rules my life!
If all others forsake me...
He will be here!
I serve Him because His bond is love,
His burden is light, and
His goal for me is abundant life.
I follow Him because
He is the wisdom of the wise,
The power of the powerful,
The ancient of days,
The ruler of rulers,
The leader of leaders,
The overseer of the overcomers, and
The sovereign Lord of all that was and is and is to come.
And if that seems impressive to you, try this for size.
His goal is a relationship with ME!
He will never leave me, never forsake me,
Never mislead me, never forget me, never overlook me, and
Never cancel my appointment in His appointment book!
When I fall, He lifts me up!
When I fail, He forgives!
When I am weak, He is strong!
When I am lost, He is the way!
When I am afraid, He is my courage!
When I stumble, He steadies me!
When I am hurt, He heals me!
When I am broken, He mends me!
When I am blind, He leads me!
When I am hungry, He feeds me!
When I face trials, He is with me!
When I face persecution, He shields me!
When I face problems, He comforts me!
When I face loss, He provides for me!
When I face Death, He carries me Home!
He is everything for everybody, everywhere, every time, and every way.
He is God, He is faithful.
I am His, and He is mine!
My Father in heaven can whip the father of this world.
So, if you're wondering why I feel so secure, understand this...
He said it and that settles it.
God is in control,
I am on His side, and that means all is well with my soul.
Everyday is a blessing for GOD Is!
Because He is, I am!


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More Good Poetry

"The Touch of the Master's Hand" is a popular piece for recitations at Student Convention, but the beauty of its message never fades.

You can hear a recitation by Bill Anderson at
http://rosemck1.tripod.com/touch-of-the-masters-hand.html


THE TOUCH OF THE MASTER'S HAND

Myra Brooks Welch


Twas battered and scarred and the auctioneer
Thought it scarcely worth his while
To waste much time on the old violin,
But he held it up with a smile.

"What am I bid, good folk?" he cried.
"Who'll start the bidding for me?
A dollar, a dollar ... now two ... only two ...
Two dollars, and who'll make it three?

"Three dollars once, three dollars twice,
Going for three" ... but no!
From the room far back a gray-haired man
Came forward and picked up the bow.

Then wiping the dust from the old violin
And tightening up the strings,
He played a melody pure and sweet,
As sweet as an angel sings.

The music ceased, and the auctioneer,
With a voice that was quiet and low,
Said, "What am I bid for the old violin?"
As he held it up with the bow.

"A thousand dollars ... and who'll make it two?
Two...two thousand, and who'll make it three?
Three thousand once and three thousand twice ...
Three thousand and gone!" said he.

The people cheered, but some exclaimed
"We do not quite understand ...
What changed it's worth?" and the answer came:
" 'Twas the touch of the master's hand."

And many a man with soul out of tune
And battered and scarred by sin
Is auctioned cheap by the thoughtless crowd
Just like the old violin.

But the Master comes, and the foolish crowd
Never can quite understand
The worth of a soul, and the change that is wrought
By the touch of the master's hand.

O Master! I am the tuneless one
Lay, lay Thy hand on me,
Transform me now, put a song in my heart
Of melody, Lord, to Thee!


-----------------------------------------------------------------------------


A PSALM OF LIFE

Henry Wadsworth Longfellow


Tell me not, in mournful numbers,
“Life is but an empty dream!”
For the soul is dead that slumbers,
And things are not what they seem.

Life is real! Life is earnest!
And the grave is not its goal;
“Dust thou art, to dust returnest,”
Was not spoken of the soul.

Not enjoyment, and not sorrow,
Is our destined end or way;
But to act, that each to-morrow
Finds us farther than to-day.

Art is long, and Time is fleeting,
And our hearts, though stout and brave,
Still, like muffled drums, are beating
Funeral marches to the grave.

In the world’s broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!

Trust no Future, howe’er pleasant!
Let the dead Past bury its dead!
Act--act in the living Present!
Heart within, and God o’erhead!

Lives of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints in the sands of time;--

Footprints, that perhaps another,
Sailing o’er life's solemn main,
A forlorn and shipwrecked brother,
Seeing, shall take heart again.

Let us, then, be up and doing,
With a heart for any fate;
Still achieving, still pursuing,
Learn to labour and to wait.


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Putting on an accent can be a lot of fun and adds drama and character to your piece. The following are two examples suitable for boys.

THE EVOLUTIONIST
L. O. Engelmann
I know a man out our way
That always spouts off and has his say
‘Bout evolution, and all that trash;
He says he’s kin to my jackass:
Well, he ain’t no kin to me.
He says his family had to climb
Out of a puddle of mud and slime;
They was just insects at the time:
Well, they ain’t no kin to me.
He says they lived in a coconut tree
A long time ago, and then, says he,
They picked lice off from each other’s head,
And ate ‘em, after they’d squashed ‘em dead;
Well, they ain’t no kin to me.
He says his family used to live
Out in the mountains, in a cave;
They’d fight with clubs and stones an’ staves:
Well, they ain’t no kin to me.
He says they’d drag a girl by the hair
An’ take her back to the cave man’s lair;
An’ he says the girl, she didn’t care;
Well, they ain’t no kin to me.
‘Cause I’m from the people the good Lord made,
The people that Jesus came to save;
The monkey-man heads but for the grave:
He ain’t no kin to me.
Some day he’ll stand before our God,
An’ wish he hadn’t talked so loud;
An’ Jesus will look at him an’ say,
“Don’t let him in; take him away:
He ain’t no kin to Me.”

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TRACKS
Effie O. Foss

“Well, Ben, how did you like that Tract
I gave to you one day?”
The country parson asked his man
Who kept the weeds away.
“Ah, Massa, it was jes’ for me,
It sure did me some good;
I couldn’t tell why call ‘em ‘Tracks’
But now I’m sure I could.
“For when I read that little book
It track me everywhere;
It track me down the cellar-steps,
It track me up the stair.
“It track me right out to de barn—
Nen to de house it comes;
It track me all aroun’ de farm—
At las’—it track me ‘home’.
“It track me till I ‘fessed my sins—
Took dat I stole right back;
It done has tracked me to de Lawd—
God bless yo’ fer dat Track!

“I jes’ abouten wore it out—
But did yo’ wan’ ‘t back?
It’s trackin’ Mandy! An’ I knows
Jes’ why yo’ call it ‘Track’!”
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Here is another piece with several character voices (male and female), and a great deal of drama and passion. You can make your audience cry with this one.

THE THREE BIDDERS
Author unknown

Will you listen, kind friends, for a moment,
While a story to you I unfold;
A marvelous tale of a wonderful sale
Of a noble lady of old: —
How hand and heart, at an auction mart,
Both soul and body, she was sold!
‘Twas in the broad ‘King’s highway”,
Near a century ago,
That a preacher stood—though of noble blood—
Telling the fallen and low
Of a Saviour’s love, and a home above,
And a peace that they all might know.
All crowded around to listen:
They wept at the wondrous love
That could put away sin and welcome them in
To His spotless mansion above: —
While slow through the crowd a lady proud
Her gilded chariot drove.
“Make room,” cried the haughty outrider,
“You are closing the king’s highway;
My lady is late, and their Majesties wait;
Give way, good people, I pray.”
The preacher heard and his soul was stirred
And he cried to the rider, “Nay.”
Then—bending his gaze on the lady,
And marking her soft eye fall—
“And now in His name, a sale I proclaim
And bids for this fair lady call.
Who will purchase the whole—her body and soul,
Coronet, jewels and all?
“I see already three bidders—
THE WORLD steps up as the first:
‘I will give her my treasures, and all the pleasures
For which my votaries thirst;
She shall dance each day more joyous and gay,
With a quiet grave at the worst.’
“But out spoke THE DEVIL boldly:
‘The kingdoms of earth are mine.
Fair lady thy name, with an envied fame,
On their brightest tablets shall shine;
Only give me thy soul, and I give thee the whole,
Their glory and wealth to be thine.’
“And, pray, what has Thou to offer,
Thou MAN OF SORROWS unknown?
And He gently said: ‘My blood I have shed
To purchase her for mine own.
To conquer the grave, and her soul to save,
I trod the winepress alone.
“ ‘I will give her My cross of suffering,
My cup of sorrow to share;
But with endless love, in My Home above,
All shall be righted there:
She shall walk in light, in a robe of white,
And a radiant crown shall wear.’
“Thou hast heard the terms, fair lady,
That each hath offered for thee.
Which wilt thou choose, and which wilt thou lose,
This life, or the life to be?
The fable was mine, but the choice is yet thine.
Which of the three shall it be?”
“Pardon, good people,” she whispered,
As she rose from her cushioned seat; —
Full well, they way, as the crowd made way,
You could hear her pulses beat;
And each head was bare, as the lady fair
Knelt at the preacher’s feet.
She took from her hand the jewels,
The coronet from her brow;
“Lord Jesus,” she said, as she bowed her head,
“The highest bidder art Thou;
Thou gav’st for my sake, Thy life, and I take
Thine offer—and take it now.
“I know the World and her pleasures,
At best they weary and cloy;
And the Tempter is bold, but his honours and gold
Prove ever a fatal decoy;
I long for Thy rest—Thy bid is best,
Lord Jesus, I accept it with joy!”
“Amen,” said the noble preacher,
And the people wept aloud.
Years have rolled on—and they all have gone
Who formed that awe-struck crowd.
Lady and throng have been swept along,
As on the wind a morning cloud.
But the Saviour has claimed His purchase;
And around His radiant seat
A mightier throng, in an endless song
The wondrous story repeat;
And a form more fair is bending there,
Laying her crown at His feet.

Monday, March 26, 2007

Dramatic Dialogues

The Dramatic Dialogue is one of most difficult of the range of Platform events, and currently it seems to be the most difficult to find scripts for. There will be a selection of scripts in the upcoming publication of collected scripts by Isabel Worboys, and I have added the category to my script creation agenda. So far we have:

Come to Jesus―Why?
A new believer tries to share his newfound happiness and discovers his non-Christian friend has more happiness than he knows what to do with. Confronting the modern gospel of “God has a wonderful plan for your life” with the question, “Should we come to Jesus for happiness, or righteousness?” this dialogue is written for 2 male actors but can be easily altered to fit any casting arrangement.
Characters:
· Kirk, a successful actor, wears a Hawaiian shirt, trendy jeans, and sunglasses.
· Todd, a Christian businessman, wears a shirt and tie.

The Way of the Master
"Come to Jesus―Why?" is from “The Way of the Master” TV series, used by permission. Watch Hollywood actor Kirk Cameron and his friend Todd Friel perform the original version on “The Way of the Master” Episode 14, titled “God’s Wonderful Plan”. Buy the Private Screening DVD available from www.WayOfTheMaster.com or any of the international agencies of The Way of the Master, or watch the episode online by clicking the “get equipped/view video lessons” tab on the website.

Home and Dry
A woman neglects to give the Gospel to a sinister-looking hitchhiker and God gives her another chance. A dialogue for one male and one female featuring great costuming, warm characters, witty dialogue, and a clear confrontation of sin.
Characters:
· Mrs. Hilary Cook, a Derbyshire dentist, is driving to visit her mother. She wears a suit jacket with an easily-accessible inner pocket which contains several gospel tracts.
· Ashley, a sinister-looking young hitch-hiker, has long hair and a beard (both removable), and his slovenly, bulky clothing looks very bedraggled. He wears a neat suit and tie hidden underneath.

The Premise of Duality
A fast-paced, intellectual debate between an atheistic Professor of Philosophy and a Christian student on the topic of whether you can prove God’s existence. Calculated to have your audience sitting on the edge of their seats and chuckling with glee. The characters are not gender-specific, so casting for this script is flexible.

The What-Woulda-Happened Room
A lively script with loads of comedy and mime, the fun and fast-paced action suddenly confronts with the convicting message that even good people can’t get into Heaven if they haven’t made the choice to follow Jesus. The characters, Angel and Dude, are not gender-specific, so casting for this script is flexible.
The above scripts are each available in a pack of 5 (2 actors & 3 judges) for NZ$ 30.

Here are some other ideas.

Life Cycle
Willow Creek Resources have 4 volumes of dramatic sketches available through Zondervan Publishing House. Their third volume of "Sunday Morning Live" contains a dialogue titled "Life Cycle" which fits our Convention Guidelines. The sketch introduction gives the following information:

Linda and Ann, strangers next to each other on exercise bikes at a gym, discover they have something in common. Both are worn-out moms looking for any excuse to get out of the house. Almost by accident, Linda tells Ann she's in a Bible study group. Although she is self-conscious as she talks more about her faith, an affinity grows between the women. Ann must leave, but after she's gone, Linda 'pedals faster' as she realizes the significance of her stumbling but sincere attempt to have a spiritually meaningful conversation with a non-Christian.

Themes: witnessing, making a difference, beginning new friendships
Characters:
Linda, a likeable mom with kids at home but inexperienced at talking with non-Christians about spiritual questions
Ann, also a likeable mom; inexperienced at talking to Christians
Props: two exercise bikes

ISBN 0-310-61441-4
A demonstration video is also available.


So Would You Say You're A Good Person?
Take a witnessing conversation in the style of Ray Comfort and Kirk Cameron, featured regularly in The Way of the Master television and radio series and DVDs, and other Ray Comfort audio material and books. Some of these are available for free download at The Way of the Master

or http://www.livingwatersnewzealand.com/

Composition Checklists

These lists are useful for any Platform entry that you write yourself, such as Oratory, Preaching, and Dramatic Monologue, and for Academic entries such as Essay Writing and Short Story Writing.


Composition Checklist

1. Does the composition have a title?
2. Does the composition have an opening paragraph for an introduction?
3. Does the composition follow the outline?
4. Is there a new paragraph for every main point?
5. Does each sentence belong to each paragraph?
6. Does each sentence begin with a capital letter?
7. Is the spelling of each word correct?
8. Does each sentence end with a mark of punctuation?
9. Is each paragraph indented?
10. Does the composition have an ending paragraph or conclusion?
11. Are the main points clearly stated?
(The remainder of the check list applies to research papers only.)
12. Are the footnotes numbered consecutively?
13. Are the footnotes in the correct form?
14. Does the composition have a bibliography?
15. Are the bibliographical entries in the correct form?


Writing is not just a mechanical exercise. It is really a product of a disciplined mind, organizing its thoughts.

Disciplined thinking is the key to good essay writing.

Good essays are not written; they are rewritten.


Essay Checklist

1. State your thesis. The thesis is a statement of what will be proved, described, or explained in your essay.
2. Develop a brief outline. This should include the main points that you want to include in your answer. An outline is required for Oratory and Preaching entries. Note: Developing the outline is the hardest part, but it will make writing your answer much easier. A well-developed outline is the forerunner to a good essay.
3. Reflect on your outline.
a. Does it answer the question/thesis?
b. Are there important points that you have overlooked?
c. Are there irrelevant points that you should omit?
d. What could make this outline answer the question better?
e. Discuss the subject with my parents (or grandparents or pastor).
4. Follow your outline and write the answer to your essay question/thesis.
5. Reread your essay and correct any mistakes.



NARRATIVE WRITING

Narrative writing is the term used for what is usually called fiction, although narrative may also be nonfiction. Descriptions, character sketches, short stories, or novels would come under this heading, as would poetry. Except for short descriptive paragraphs, all narrative writing assignments must have a theme and a plot. Every incident included should built characterization or advance the action of the story or both.

Planning

As a preliminary step, the students should plan what he intends to write. A good piece of creative writing is not likely to come from poor planning. Written preparation should include choice of theme, choice of conflict, choice of characters, choice of setting, a list of incidents to be included, and a list of details to be used in describing the setting and the main characters.

Evaluating Narratives

In evaluating the rough draft and final copy, apply the questions from the following check list.

Narrative Check List

1. Is there at least one lifelike character?
2. Are there some colourful details describing the setting and the characters?
3. Is the description interwoven with the action of the story?
4. Is the character development interwoven with the action of the story?
5. Does the story have a main conflict?
6. Is there a series of incidents and conflicts building up to the climax?
7. Do all incidents included advance the action, develop the charactization, and build to a climax?
8. Is there a resolution of the conflict?
9. Do the characters and conflicts demonstrate the theme?
10. Is the theme apparent from reading the story?
11. Are the tenses consistent throughout the composition?
12. Is the whole story (composition) written in the same person?

Sunday, March 25, 2007

Checklists for Story Editing

The following advice was written for Short Story and novel editing, but the principles will also work for editing an Oratory or Dramatic Monologue script.


Checklists for Story Editing
By Diane Brown

Editing requires a lot of thinking. It is hard work. But necessary. Remember the principle of crowding and leaping. Crowd everything you possibly can into the first draft, then in subsequent drafts edit out all trivia and everything that doesn’t fit, leaping to only the words that add to the story.

After you have completed your first draft, do not start editing your 2nd-4th drafts until you have given the story/novel a breather. At least two weeks for a short story and six weeks for a novel. The reason is because you have been labouring over the writing for some time and this makes it difficult to judge it clearly. You need to distance yourself from the story, because unfamiliarity makes it much easier to pick up the red pen and start polishing or cutting your words. Do not be tempted to read your draft before the waiting time is up. Work on something else while you are waiting.

STRUCTURAL EDITING – SECOND DRAFT

Write a brief chapter-by-chapter synopsis of the book. Then ask these questions:

1. What is the story about? You should be able to describe the story in a couple of sentences. Eg: Man loves girl, man loses girl, man marries someone else.
2. Is the story logical? Could ordinary people believe it?
3. Is the beginning compelling? First sentence / first paragraph / first chapter?
4. Do you really need the first chapter? Does it have too much backstory and not enough action?
5. Is there a satisfying shape to the story? Is it going somewhere? Is there forward movement?
6. Does the pace vary?
7. Is there tension that rises and falls? Are tension points evenly spaced?
8. Is there a point in the middle when it feels flat?
9. What are the obstacles your characters must overcome?
10. Are there superfluous subplots which confuse the story rather than enhance it?
11. Is there a chapter where nothing happens? So why keep it?
12. Is the outcome dramatically satisfying?
13. Are all the loose ends tied off? Have you left a character dangling from a bridge without rescue?

Having answered these questions, set about rewriting, step by step. Make sure you are not just changing details but are really thinking about the important components: structure, theme, focus, characterization, point of view, resolution.

Your characters hold the story together.

1. Are the characters psychologically and emotionally believable?
2. Are the actions of characters credible? Would the recalcitrant character really jump into the river just because a stranger told him to?
3. Is each character’s voice authentic?
4. Do you need all the characters? Consider dropping one or merging a couple of thin characters together into one strong character.
5. Do you need to add a character? Is one character doing too much work in the story?
6. Is the main character being upstaged by a lesser character?
7. Are your characters sufficiently differentiated? Do they speak and act like individuals?
8. Are their names right for them? Spend time thinking about alternatives. Do not accept the first name you think of. Names go in and out of fashion. They also indicate the likely age of someone. Do you know a Hilda under 30? Or a Damian over 35?

Point of View and Voice

1. Is the point of view consistent and clear? Does the reader know whose head he is in at every stage?
2. Can the character possibly know what you say they can? If you are currently in a particular head, make sure you only describe what that character can know. For instance, if you are in the head of a teenager currently in his upstairs bedroom, he can’t know what his mother is doing in the room below (unless he can hear her vacuuming or on the telephone, etc). Even then he can’t know what she is thinking or feeling.
3. Have you considered using other points of view? Experiment a bit. I once read a novel told from the point of view of an unborn baby. All very well and at times it was convincing so I was ready to suspend disbelief. But when that baby was able to wander from his mother’s womb to see what was happening in the paddock next door it lost all credibility for me.
4. Does the story convey the mood you want to?
5. Is the mood appropriate to the characters?
6. Does the mood suit the voice of the narrator? For instance, if your characters are ‘poor white trash’ then a high literary style will seem out of place.

Tense

1. Does it convey the effect you want?
2. Would the present tense make the story more immediate?
3. Would a past tense make the telling easier and smoother?

Language – Dialogue and Narrative

1. Are you showing not telling?
2. Have you got excess words? Is every word doing new work? Can any thought be expressed with more economy? Is there anything pompous or pretentious or faddish? Are you hanging onto something useless just because you think it’s beautiful? Simplify. Simplify.
3. Have you got a good balance of dialogue and narrative?
4. Does the dialogue move the story forward?
5. Are you imparting excessive information in the dialogue? Don’t!
6. Does the dialogue sound natural?
7. Have you got speech attributions that interfere with the dialogue? Speech attributions include words like he responded, remarked, announced, etc.
8. If the lively dialogue dispenses with the he said, she said attributions, make sure it is clear who is speaking. The reader should not have to guess or count back to the previous attribution.

Seven Rules of Dialogue
1. Dialogue should be brief.
2. Dialogue should add to the reader’s present knowledge.
3. Dialogue should eliminate the routine exchanges of ordinary conversation.
4. Dialogue should convey a sense of spontaneity but eliminate the repetitiveness of real talk. (Remember, go for verisimilitude rather than truth.)
5. Dialogue should keep the story moving forward.
6. Dialogue should be revelatory to the speaker’s character, both directly and indirectly.
7. Dialogue should show the relationships among people.

THIRD DRAFT
Style

1. Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
2. Never use a long word when a short one will do.
3. If it is possible to cut a word out, always cut it out.
4. Never use the passive where you can use the active.
5. Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday British equivalent.
6. Break any of these rules sooner than say anything outright barbaric.
7. Experiment with your syntax, cutting up long sentences or making short ones longer. Avoid monotony.
8. Watch out for repetition of words and ideas. There is nothing wrong with repetition done deliberately for effect. But beware of using the same word in consecutive sentences without being aware.
9. Avoid passive verbs.
10. Use active verbs.
11. Be parsimonious (sparing, stingy) with adjectives and adverbs.
12. Use concrete nouns, not abstract. (Not beautiful, but chocolate-brown eyes.)
13. Be specific in detail. (Not a tree, but a wind-swept pohutukawa.)
14. Read your work aloud and listen to the rhythm of the words.

FOURTH DRAFT
Copy Editing

Copy editing looks more at details mentioned, such as names of places, people, dates, grammar and spelling, etc.

1. Construct a time line of all events to make sure your story is consistent. If you start in summer then three months on it will be autumn, not spring. A man born in 1940 would not have been a soldier in the Second World War.
2. Flora and fauna should be appropriate to the area. You can’t have tropical plants growing outdoors in Dunedin, for instance.
3. Check character and setting details. Blondes should stay blonde. The town doesn’t grow twice the size overnight. When characters change, it should be a result of what happens to them, not through the writer’s laziness.
4. Your plots and subplots must be consistent. Check who is related to whom. Don’t have a brother and sister marrying, for instance.
5. Check chronology. Know what was happening in the world at the time you set your novel. People don’t live in a vacuum. They are affected by major events in the world. Know the popular books, films, songs, sports heroes of the day.
6. Check spelling and grammar several times, as errors can creep in at the editing stage. Spelling mistakes, typos, mistakes in idiom, unfashionable usages, all these characterize you as a writer controlled by language rather than controlling it. You present yourself as still in rompers. It is not a question of being clear. These revelations of self don’t usually obscure ideas, they obscure you. They reveal that you have not paid attention to your own writing and invite the reader to respond in kind. Check that the dictionary you have used (British or American) is applicable to the country in which you wish to get published.
7. Make detailed notes on where you need to make revisions.

Cut the Beginning

Anton Chekhov recommended throwing out the first three pages of a short story in any revision. I often ditch the first two stanzas of my poems. It seems to work like this: first you have to find the way into the story or poem. Once you are in, the writing comes easily. Later, you can afford to cut the beginning which may have been useful to you but is unnecessary to the reader.
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