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Message Preparation of Narrative Literature

Message Preparation of Narrative Literature. Introduction to Presenting Narrative Literature. Everyone loves a story Most seminarians are trained in exegeting the Epistles Few are able to preach the biblical stories upon graduation. The Challenges of Communicating Biblical Narrative .

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Message Preparation of Narrative Literature

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  1. Message Preparation of Narrative Literature

  2. Introduction to Presenting Narrative Literature • Everyone loves a story • Most seminarians are trained in exegeting the Epistles • Few are able to preach the biblical stories upon graduation

  3. The Challenges of Communicating Biblical Narrative  • Epistolary literature has a topic sentence; narrative seldom follows such clarity • Grammatical rules used in discerning the Big Idea of Epistolary literature do not work for narrative • The hermeneutic principles related to narrative are more intimidating to apply

  4. The Trick to Stories • Good ones are always a unified whole, with a significant point/lesson to them • “Storytellers use several devices of disclosure to signal what the action is about.” (Ryken, p. 216) • “Narrative reveals not only what happened, but what happens. It is story with a point.”

  5. The Key to Preparing Messages from Narratives Find the “devices” which can lead us to that unifying idea of a narrative

  6. The Message Portion • Language markers: “Now,” “And it came to pass” • Description of setting and intro to key characters, usually the protagonist • Rising tension/conflict for the protagonist • A climax—things come to a head • A dénouement, or aftermath of the climax; The tension lessens and lessons are learned

  7. One determines the message portion of a story by determining when one story comes to its end and the writer shifts to another story

  8. Hinge Verses • The narrative flow of the Scripture is maintained by “hinge verses” • Hinge verses tie one story to another • Hinge verses can belong to either/both stories they connect • Hinge verses sometimes provide key background information for an upcoming story

  9. Class Exercise Find the message portions in: 1 Kings 18 Acts 14

  10. Narrative Structural Outlining • The key to narrative structural outlining is acts and scenes which unfold the story line and drive the action forward • As in a play, you arrange the narrative into these acts and scenes to outline it

  11. Triggers for Scene Changes • Changes in speakers    • Changes in location, geography • Changes in action • Changes in the development of characters • Changes in the plot

  12. Group Exercise Determine the scene changes in the story of Eutychus, Acts 20:7-12 Determine the climax of this story Just for fun, what do you think the point of the story is?

  13. Determining the Narrative Broad Subject and Big Idea FOUR CLUES • The narrator’s key comment • Repetition or word motifs • What do the main characters say • Direct statements of setting or plot Remember: The Ladder of Abstraction!

  14. Clue 1:Watch for the Narrator’s Key Comment These key comments occur: To open a narrative (Genesis 15:1; 2 Kings 2:1) To explain an action that drives the story (John 4:4) To omnisciently give us the main character’s motive for an action (John 13:1) To omnisciently explain God’s response to an action of the main character (2 Samuel 11:27)

  15. Clue 2:Watch for the Use of Repetition or “Word Motifs” • “The most reliable guide to what a story is about.” (Ryken) • Proportion, how much space is given to a character or a subject or a detail • Sequence of actions, where there are three consecutive repetitions of an action • Repeated themes

  16. Clue 3:Watch What Main Characters Say, Especially at First • The writer may have the point of the story come out of the main character’s mouth • Often this is in the first comment they make • Remember that broad subjects in narrative literature are not the final message form • Ruth 2:2—Broad subject? • “Ruth gleaning in the fields of Boaz” • 2 Samuel 9—Broad subject? • “David showing kindness to a member of Saul’s house”

  17. Clue 4: Watch for Direct Statements of the Setting and the Plot • The narrator sometimes will drop us into a scene and let it unfold by way of direct narration statements • In that case, usually, the Broad Subject is usually in the setting and the plot • John 12:1-8 – Broad Subject? • “Mary anointing Jesus”

  18. Group Exercise Look at the following passages and take a stab at determining the Broad Subject: 1)     Daniel 1:8-162)     Genesis 25:27-343)     Luke 18:18-304)     Luke 19:1-10

  19. The Narrowed Broad Subject in Narrative Passages • Seeks to see what question is being answered by the Broad Subject. • So the NBS of Daniel 1:8-16 would be . . .? “How does Daniel keep from defiling himself?” • Here is where it is helpful to look for the “timeless big idea,” the principle being taught by the narrative. The Ladder of Abstraction gives us the way to communicate this principle

  20. Complements from Narrative Literature The Complement is the text’s answers to the question of the Narrowed Broad Subject. What is the complement to the Narrowed Broad Subject of Daniel 1:8-16?

  21. Timeless Big Ideas, Homiletical Big Ideas and Outlining for Narrative

  22. Class Exercise What is the principle or Timeless Big Idea being taught in Daniel 1:8-16?

  23. Remember . . . The Homiletical Big Idea requires the use of the Ladder of Abstraction in order to bring the Timeless Big Idea into preachable form

  24. Class Exercise Climb the ladder of abstraction and determine some possibilities for Homiletical Big Ideas and slogans for Daniel 1:8-16.

  25. Outlining Narrative Narrative is about flow from scene to scene, not about points Narrative is about movement of a plot. So it is much more: “this happened,…then this” than “point 1, point 2, point 3” Outlines should not intrude upon a narrative message. Tell the story!!

  26. Class Exercise What are the “scenes” of Daniel 1:8-16.

  27. Two Approaches to the Development of the Narrative Message • Tell the story scene by scene, doing your explanation, illustration and application throughout • Tell the whole story first, graphically, leaving out the climax until the end and then do explanation, illustration and application • Both approaches work well!

  28. Transitions are crucial to the flow of a narrative message.

  29. NarrativeTension • Convey the tension to the audience • Use emotional hermeneutics—get into the feelings of the characters in the passage • Get the audience identifying with the main character in that tension • Get them wondering how it is going to be resolved • Get them wondering if there is a principle that might help them if ever in such tension again

  30. ClassExercise What is the narrative tension found in Daniel 1:8-16? Suggest some ways you could help people identify with that tension.

  31. Emotional Hermeneutics • One of the keys to narrative messages • The emotions of the characters can be ascertained from the emotional context and dialogue • Pretend you are a movie director who has to set up this scene and tell people how to deliver their lines, what look and body language and tone of voice to have

  32. Group Exercise Determine the “emotional hermeneutics” of Matthew 17:14-18, particularly the emotions of Jesus and the disciples. Think of facial expressions and how the lines would be delivered. How does this help explain the narrative tensions of the passage?

  33. Visualizing the Story Four “actors” are needed to act out the motions and sounds of Mark 8:22-25. Note the physical movements and times when touch and sound come into play, making the scene more vivid.

  34. Applying, Introducing, and Concluding Narrative Sermons John Knox

  35. Applying Narrative Messages Applications flow from the way the tension is created and resolves itself • How does the character get into the situation? • How do we get in similar situations? • How does the character handle the situation? • How do we handle the situations? • How does God respond to the character(s)? • How does God respond to us in these situations? Etc.

  36. Class Exercise What are some valid applications to the story found in Daniel 1:8-16? Name some specific audiences that might strongly identify with these applications.

  37. Introducing Narrative Messages • Generated the same way as for epistolary • You gain attention and create a need for the principles found in the narrative • You promise that if they listen carefully to this story, they will gain help from God for problems or struggles in their lives

  38. Conclusions and Appeals • “What have we learned from this account today? • “How do these things help us?” • “Why is this story in the Bible?” • Tell a modern story (one that makes clear the application)

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