The Preacher's Creative Process

Chapter 9, Jana Childers, “The Preacher’s Creative Process” pp. 153-168

Childers discusses creativity in preaching. She asserts that finding “deep translation” as described on p. 154 is essential. Sadly it is not clear what “deep translation” might be. Childers then shifts focus to talk about studies of creativity. The subject has not been studied systematically until the late nineteenth century. Since then most theorists have articulated some form of definition of an issue, a period of stepping aside from the issue, emergence of an idea, and consideration or testing of the idea. Establishing time and space to step aside from the issue is critical for creativity, including that of art, literature, invention, and problem-solving. Finding the time and space, says Childers, is very difficult for preachers. However, she says the process is necessary, otherwise the Holy Spirit will never give the preacher understanding sufficient to order a powerful sermon.

Childers’ view is made suspect in her references to the Holy Spirit as “she” and her allegations that the Holy Spirit “needs an editor” (p. 165). Yet some of Childers’ suggestions may well be valid. No doubt creativity can and should be fueled by making space for subconscious problem solving. Spending tme in contemplation is of great value.

The Truth and Truthfulness: Theological Reflections on Preaching and Performance

Chapter 1 Marguerite Shuster “The Truth and Truthfulness: Theological Reflections on Preaching and Performance” pp. 19-35.

Shuster states at the outset that the reader may well, and probably should, be uncomfortable with the idea of absolute truth and with performance being related to preaching. She ties truthfulness of the preacher to the truth which is propounded from the pulpit. It is necessary that the preacher be someone the congregation can recognize as true. Conveying the truth in a manner which does not persuade the congregation of that truth and of the sincerity of the preacher may, in Shuster’s opinion, erode the truth. On pp. 24-25 she  draws a distinction between proclamation of truth and beauty in words and proclamation of truth and beauty in artistic representation. Shuster’s thesis is that the truth and beauty conveyed in words is dependent on the presentation of the speaker, while in art, possibly because the artist is more masked, the truth and beauty is not dependent on the artist and is not concrete or “properly judged by moral criteria” (p. 25). The goal of the speaker is to present truth in such a way that it is truthful and will be perceived as truth. This requires careful attention to presentation style and methods. Using a positive mode of presentation will make this truth, which (p. 33) Shuster affirms to be personal in nature, more palatable to the congregation.

Shuster’s approach to truth and beauty is fairly postmodern. She views truth as something which may well be different for different individuals. This same philosophy shows up in her references to art. While the emphasis on presentation skills and adequate physical and mental preparation to communicate a message is important, her understanding of the nature of the message is flawed. Truth is truth, otherwise it is nothing.

Performance in Preaching

Childers, Jana & Clayton J. Schmit (editors). Performance in Preaching: Bringing the Sermon to Life. Grand Rapids: Baker Academic, 2008.