Writing Tips for Speakers: Tip #14–Moderate Your Use of Scripture References

You love God’s Word. You know its power to shape minds and hearts and transform lives. But does that mean that the more Scripture references you provide, the better?

It depends. In Bible studies and academic books, copious referencing of Scripture verses is the norm.* Readers expect that and want it.

But if you’re writing in a popular style–for example, your book is about nature or recovery, or it’s your life story–then your use of in-text Scripture references should be more conservative. Provide them when they’re truly helpful, but avoid going overboard. Not everything you say needs to be corroborated with verse numbers for readers to look up.

Overkill clutters the text, looks like you’re strutting your scholarship, and can weary the reader with too much information. Conversely, a selective approach carries weight.

Maintain the Momentum

Every reference creates a pause in the flow of your text, if not an outright bunny trail. So match your use of references to your topic and your audience. Weigh the relevance of a verse against the benefit of keeping your readers moving through the narrative. The fewer speed bumps you present, the likelier your readers will be to explore the references you do show.

Avoid showing multiple verses unless they’re called for. For example:

God helps the humble (Ps. 18:27; 25:9; Prov. 3:34; James 4:6, 10 [cf. 1 Pet. 5:5–6]).

That string of references is perfect for a Bible study. Your readers want to dig into the Scriptures, and it’s your job to help them. But if you’re writing a biography, are all those verses necessary? Is any reference at all needed? Probably not. The context determines what is appropriate, and that is for you to judge. If you decide that a reference is indeed desirable, just one will usually suffice (e.g., Ps. 18:27 in the above example).

To B or Not to B

Unless you’re writing an academic work, simple verse numbers provide all the specificity you need. Using letters to fine tune a reference (e.g., Rom. 4:16b; Dan. 2:41c) is rarely appropriate for a general readership. If you do use letters, you should do so with enough consistency to justify them. But you’re unlikely to need such precision.

In the words of veteran editor Bob Hudson, “Even [in academic books], the letter system is best reserved for only those occasions when a specific portion of a verse is being singled out for discussion.”**

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In summary: Tailor your use of in-text Bible references to the kind of book you’re writing. If you’re writing a trade book (as opposed to academic), (1) be conservative and selective with your references, and (2) normally, don’t use the letter system.

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* By “reference,” here I mean the citing of Scripture verses and passages independent of quotes, usually in parentheses.

** Robert Hudson, The Christian Writer’s Manual of Style, 4th ed. (Grand Rapids: Zondervan, 2016), 332.

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Is the Head Really Opposed to the Heart?

My friend Sam Williamson​, author of Hearing God in Conversation: How to Recognize His Voice Everywhere and creator of the blog Beliefs of the Heart, just published a post titled “Should Christians Fear Thinking?” Sam writes, “God wants whole people, neither heart-deprived Tin Men nor lobotomized tomatoes.”

He is smack on the money, and he has touched on one of my soapbox issues. In 2014 I wrote my own post on the subject: “Why Living from Your Heart Requires Using Your Head.

If you’ve ever puzzled over how the heck you’re supposed to turn off your thinker in order to “live from the heart, not the head,” or heard that “God will insult the mind to free the heart” (I forget who it was who thought that one up), take a few minutes to read both Sam’s post and mine.

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Writing Tips for Speakers: Tip #13–Vary the Length of Your Sentences and Paragraphs

Make short sentences your standard. They communicate effectively by giving information in bite-size chunks. Readers grasp “short” more easily than sentences crammed with multiple clauses and stretching from horizon to horizon. When a sentence becomes a panorama, you may be trying to say too much with it. Consider breaking it into two or three more manageable pieces.

That Being Said . . . (On Behalf of Long Sentences)

An endless procession of complex sentences, lumbering along one after the other like an elephant parade, will numb your reader’s minds. You need some monkeys scampering about. But the converse is also true: a steady flow of short sentences becomes monotonous. A well-crafted lengthy sentence is sometimes exactly what you need to create contrast.

Some of the best writers–Garrison Keillor comes to mind–are masters of the longer sentence that draws you in and pulls you along through the second clause, and the third, and the fourth and fifth phrases, and line after line after line, your attention never flagging but, rather, your interest growing to see where and how that sentence will end. And when you do at last reach the period, you don’t think, About time! You think, How did he do that?

The writer did it by knowing how to use sentence length as one of the tools in his writer’s tool kit.

The point is to mix things up. Variety is another word for interest.

The Same Holds True for Paragraphs

Monolithic blocks of prose exhaust the eyes and the mind when they plod across page after page. Open up your paragraphs and let them–and your readers–breathe.

Writing is more than words. It is visual communication. So why not adopt the mindset of an artist. Approach the page you’re writing on as if it were a canvas. How will you use space . . . and density . . . and texture?

How will the way your writing looks determine the way it reads?

See how my previous paragraph is just a single line? You can do that. A succinct one-sentence paragraph stands out, thus reinforcing its point.

Tinker with the length of your paragraphs to determine what will most effectively engage your reader. One paragraph might be ten or twelve sentences long. The next might be two.

Or maybe just a fragment.

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Writers don’t have as many tools at their disposal as speakers. One tool you do have–and it’s a powerful one–is the way you vary the length of your sentences and paragraphs. This tool can mimic how you’d pace yourself as a speaker, and it has the advantage of allowing your readers to stop and mull over what you’ve written before they move on.

So think about how you can tame your elephants and monkeys. Experiment. Be creative, even whimsical.

And–dare I say it?–have fun!

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