Part of a series of interviews with experienced Christian writers—of academic and popular theology, fiction, and those writing for a non-Christian audience.
How did you decide to take writing more seriously? Did someone encourage you to do so?
I have always loved writing and taken it seriously, so when I became a Christian in my late teens, writing became a part of my Christian life. As I stepped up into Christian leadership, my writing took various forms, including a short-lived Christian zine called regurgitator that a few friends and I put together; and blogging prolifically from the late 2000s until the late 2010s.
Some friends showed interest in my writing and encouraged me to find the time for book-length work. One of them stressed that writing is an important form of leadership. That extra vision and support pushed me to think about how I could manage other priorities and make space for that long-form work. I finally attempted to write my first theological book in 2017: The Good Life in the Last Days: Making Choices When the Time Is Short. This was made easier when Matthias Media accepted my book proposal and AFES granted me a writing sabbatical.
How do you think about your explicitly Christian writing? As a ministry? A hobby? A vocation? A side hustle?
All of the above. I read and write for pleasure as well as for work. I don’t think of vocation in a tightly theology sense, but with a sense of God’s providence, as well as my own personal interest, ability and commitment. Over the last ten years especially, I’ve been conscious of making writing a priority, a distinct ministry. To make that sustainable has involved putting some structure and resources around it, and that means my writing could also be described as a side hustle.
Where do your ideas and inspiration come from?
Like Craig Hamilton, I’ve written books that I wish already existed, books I wish I could read. It’s very motivating to plug a needed gap in ministry practice or theological thinking. A major way that I have become alert to these gaps is by noticing where I think commonly repeated ministry advice or theological formulations are sloppy or incomplete. This suggests more thinking and clarifying is needed.
Occasionally, ideas for articles come from regular teaching and training preparation. Sometimes, from ideas sparked by the teaching and training of others. Semi-regularly, a book, film or TV show will spark a theological or practical reflection of some kind. A conversation, or email query can get me thinking afresh on a topic, and this translates well to an article.
More broadly, I maintain a posture of curiosity and openness to all sorts of sources for ideas. A diverse reading, listening, watching and conversational diet stirs up fresh writing ideas. Having curious and open friends like Al, Amy, Dave, Emma, Luke, Nathan and Victor, who send me interesting stuff to read and listen to, also helps.
Do you have any advice for those starting to seek publication? What insights can you give into the mysterious publication process?
With rare exceptions, becoming a published writer is an opt-in enterprise. People don’t usually recruit you (there are exceptions, also here). Usually people become writers because they choose to become writers. People get published by persevering with submitting their writing to publishers and publications. Most people we now think of as ‘real writers’ got there simply by deciding to be writers and then sticking at it. As awkward as it is for most people, you need to back yourself, seek out feedback and support, fight the imposter syndrome, and just keep going.
There are many disappointing and surprising things about the publication process. Expect very long delays: response times to submissions are often six months or longer, depending on where you are submitting to. Many publishers and publications operate on a policy of “If you don’t hear back from us in x weeks/months, assume we’re not interested.” Don’t expect to receive much feedback on why your work is rejected. If you do, treat this as a very rare and precious gift—don’t squabble with it or be discouraged by it. It’s a good sign! The editor is saying you are worth giving some pointers to, even if this particular work is not what they’re after.
There are a few very basic practices that are both courteous, as well as advantageous to your submissions. First, familiarise yourself with the publisher/publication so that you submit the kind of work they are interested in. Second, follow their submission guidelines with precision. Third, submit work that is as polished as you can manage.
The chances of your work being accepted are very, very low in many places (TGCA is an exception to the norm on this front). If you want to write and publish, be prepared for lots of rejections. Lots. Often those rejections are not a sign that your writing is bad, but simply that yours is one submission among dozens, or hundreds… or thousands.
How do you think and feel about getting feedback and editorial input? Has that changed over time?
It can be uncomfortable, confusing or even, at times, frustrating. But feedback and editing are necessary, simple as that. Good readers are vital supporters for you in the writing process. And editors are key collaborators with you in the business of publication.
With regard to readers whom you invite to give ordinary routine feedback (called ‘beta readers’), I have come to realise that it’s ok to be picky about whose feedback you seek and to be specific about the kind of feedback you invite. You want people who are experts in some way or another—even if their expertise is that they are keen readers, or thoughtful representatives of a slice of your intended audience or your subject matter. You want people who understand what you are trying to achieve with your writing (in both content and style). If they don’t love your way of thinking and writing, then they need to be very good at putting their opinions and preferences to one side, so as to help you best achieve what you are trying to achieve. I have started giving a list of questions to my beta readers to clarify what kind of input I’m seeking. Reading someone else’s work, especially longer work, is a huge favour. Ask more people than you need, because many will say no, or say yes but not get around to it. Treat those who do read and give feedback like princes.
When it comes to working with editors, it is important that you don’t argue over every detail. Fear not! The end result will still sound like you, even if it has been heavily edited. On the other hand, don’t be shy about fighting the battles that matter to you, in terms of both style and content. It is your work, after all. Editors are open to hearing more about what you are aiming for, and will adjust their input through the collaborative process. For more substantial feedback, it pays to read it, set it aside, mull over it and come back to it after your initial reaction subsides.
All that said, some editorial relationships gel more than others. In extreme cases, you have to be okay with the possibility that you simply cannot find enough common ground and you both need to abandon the project with no ill will. Even when it’s not anywhere near that extreme, it’s okay to feel that one editor doesn’t get you quite as much as others do. Be gracious with them, because no doubt they are being gracious with you, too.
What are your coping strategies for rejections, or not hearing back from people you share your work with—whether editors or friends and family?
Scream into the wind. Stare into the abyss. Listen to The Cure for a bit. It is painful. And when you get no response at all? That’s a strange, lonely, passive pain, too. Name that pain. It’s okay to be upset. But it is also perfectly understandable that not everyone responds to you. It’s inevitable that some people will say no thanks to your submissions. If you can’t cope with rejections, you’re going to really struggle with the life of a published writer.
Judo flip that negative emotion into a great deal of positive appreciation for those who do respond, who do say yes, or even those who take the time to say a personalised no (even more so if they give you some praise, advice, or explanation).
Your editors and beta readers do a lot of work to help you. If you publish a book, make sure you thank them in person and also in the printed acknowledgments.
Is it difficult for you to promote yourself and your work?
No, I don’t find it that difficult. I believe in what I have written and I want others to benefit from it. The reality is I am one of the most motivated people to promote my work and I am responsible for promoting my work. In its noblest form, marketing is about helping people find out about things you are doing that are relevant to them. It can be socially uncomfortable to promote yourself, especially before you are considered a somebody. However, finding your audience is simply is part of the work of writing for a public audience.
What are particular temptations for writers? What are some strategies to resist them?
Some writers are tempted to jump to their own defence in public, responding to critiques and negative reviews and social media comments. I believe this is usually bad form. For the most part, I’d prefer to let what I have written speak for itself, and let the readers decide. (It’s a slightly different matter to offer a measured response to past critiques in future editions of a book, or in related works.)
Success is also a fickle thing. Observing the uneven rates at which books and articles are read, shared, praised and purchased can provoke resentment or self-pity or envy or cynicism or despair. As with many parts of the writing and publishing experience, this is simply the way things are. It’s okay to notice the apparent injustice and the feelings of disappointment. Bring them before the Lord. Rejoice in the gigantic success of others and rejoice in your own more modest successes, as best you can, with the Spirit’s help. Then get on with humbly serving in the sphere he has assigned to you.
How can friends support Christian writers?
It is important that you know how rare it often is for people to get around to reading their friend’s writing. Much less to give the thought and take the time to speak words of encouragement and specific points of praise. Rarer still is the proactive suggestion of a networking connection, or the offer of a location for a writing retreat, or some financial support for a writing project. If you are in a position to support in any of these ways (including just reading their work) you are being an absolute platinum friend-of-a-writer.
If you aren’t in a position to do any of these, you can still show an interest in your Christian writer friend’s life and work. They will appreciate your respect for their difficult labour in a lonely field.
How can ministry leaders support Christian writers?
Most ministry leaders are, I believe, fairly thoughtless in the use of the platform we have, when it comes to Christian writers. This is true even of some of those of us who run conferences and larger organisations. And I understand. Fair enough. We are all so busy already. However, all ministry leaders have power to support Australian Christian writers—and some of us have a great deal of power to provide a great deal of support—and we often squander it without even realising it. Christian writers notice this, at least sometimes. And sometimes our hearts sink.
So, ministry leaders: who are the Australian Christian authors in your field of interest who are doing good work—members of your ministry peer group, your staff team, those in your region or parachurch networks? How can you be a long-term and proactive champion? You could quote from them or share their work online; promote their work in church services and at conferences; ensure their books are on bookstalls, and their books and articles are on curriculum reading lists; assign their writing to growth groups, ministry teams and ministry apprentices. It would be relatively easy for us all to make a significant difference in this area with a very small amount of regular thoughtfulness and effort.
What do you recommend to those who want to work on their writing?
Read regularly, and as you read, be mindful of what’s working and not working, and why. Write regularly, and try to get better at spotting the same for your own writing.
Track down resources about writing and publishing—books, podcasts, Instagram accounts, YouTube videos, in-person and online workshops. Do yourself and the rest of the human race a favour by reading and listening to a range of advice composed and delivered by actual human beings, rather than asking the Robot (generative AI). If you can, find a few writing buddies: you can boost one another’s morale, read each others’ work and share resources.
