Featured Writing Addict: Jon Barnes

Jon Barnes

Barnes Jon profile

Jonathan (Jon) Barnes was born and raised in Charlotte, North Carolina. From 2002 to 2012 he served Global Ministries (the Christian Church (Disciples of Christ) and the United Church of Christ) in South Africa and Mozambique, working with community development and theological education. While in South Africa he completed a Ph.D. in Mission Studies, focusing on issues of colonialism, neocolonialism, and power in ecumenical church relationships. He now works as Executive for Mission Education at Global Ministries, based in Indianapolis, Indiana.

What’s Jon Barnes’ Genre?

Nonfiction

What is Jon Barnes’ book about?

Power and Partnership: A History of the Protestant Mission Movement

P&P promotional flyer copy

“While the concept of partnership between churches in the Global North and South has been an ecumenical goal for well over eight decades, realizing relationships of mutuality, solidarity, and koinonia has been, to say the least, problematic. Seeking to understand the dynamics of power and control in these relationships, this work traces the history of how partnership has been lived out, both as a concept and in practice. It is argued that many of the issues that are problematic for partnerships today can find their antecedents during colonial times at the very beginnings of the modern missionary movement. For those interested in pursuing cross-cultural partnerships today, understanding this history and recognizing the use, as well as the misuse, of power is crucial as we seek genuine relationships of care and friendship in our fractured and divided world.”

What are others saying?

“In reviewing the history of Protestant mission work, Barnes exposes major themes or issues that cause those of us from the West to continually fall short in realizing mature ecumenical relationships, and through this analysis helps us see new possibilities for these relationships in the future.”

—[Graham Duncan, Professor of Church History and Church Polity, University of Pretoria]
 
Power and Partnership is a salutary text on partnership within the international ecumenical scene, for at least three reasons. First, as a book tracing the contours of partnership, it provides insights into a concept that has been closely associated with the modern ecumenical movement. Second, it highlights the need for a new impetus in both theory and practice of partnership. Third, while the focus is on historical analysis, it also lifts out key issues still dogging the global ecumenical journey—notably the contestation of power within partnerships.”
—[Des van der Water, past General Secretary of the Council for World Mission]
 
“With historical clarity, political insight, and missiological acuteness, Barnes traces the complex dynamics of cross-cultural partnerships. He provides . . . a deep, sophisticated, and accessible analysis of the achievements, struggles, and unfinished agenda for what will continue to be, at all levels of the Christian church, the most common experience of North-to-South relationships. Barnes’s work contributes to the reshaping of global denominational policy and congregational short-term mission practices.”
—[Carlos F. Cardoza-Orlandi, Professor of Global Christianities and Mission Studies, Perkins School of Theology, Southern Methodist University]

To reach Jon Barnes, buy his books, or schedule a book-signing event:

  • Amazon: Order Online
  • Email: jbarnes@dom.disciples.org 
  • Tell him you heard about him on editingaddict.com!

Barnes Jon with book

Enter, and Resolve Thyself

[found on iuniverse.com]
“Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.”
— Michael Moorcock

To see the rest of the tips from iUniverse, click here.

[found on http://www.iuniverse.com/ExpertAdvice/20WritingTipsfrom12FictionAuthors.aspx]

The Perfect Scene

[found on advancedfictionwriting.com; by Randy Ingermanson]

“Writing the perfect scene:

    1. Goal: A Goal is what your POV character wants at the beginning of the Scene. The Goal must be specific and it must be clearly definable. The reason your POV character must have a Goal is that it makes your character proactive. Your character is not passively waiting for the universe to deal him Great Good. Your character is going after what he wants, just as your reader wishes he could do. It’s a simple fact that any character who wants something desperately is an interesting character. Even if he’s not nice, he’s interesting. And your reader will identify with him. That’s what you want as a writer.
    2. Conflict: Conflict is the series of obstacles your POV character faces on the way to reaching his Goal. You must have Conflict in your Scene! If your POV character reaches his Goal with no Conflict, then the reader is bored. Your reader wants to struggle! No victory has any value if it comes too easy. So make your POV character struggle and your reader will live out that struggle too.
    3. Disaster: A Disaster is a failure to let your POV character reach his Goal. Don’t give him the Goal! Winning is boring! When a Scene ends in victory, your reader feels no reason to turn the page. If things are going well, your reader might as well go to bed. No! Make something awful happen. Hang your POV character off a cliff and your reader will turn the page to see what happens next.

For more tips on writing from AdvancedFictionWriting, click here.

[found on http://www.advancedfictionwriting.com/articles/writing-the-perfect-scene]

The Art of Conflict

[found on huffingtonpost.com; by Writer’s Relief Staff]

“Learn the art of conflict. Creating a powerful conflict and weaving it tightly throughout the story is a tricky thing to master, and can take years of practice. The catharsis that a reader will experience at the resolution, however, is worth the struggle. Conflict is what makes us interested in outcome. And your conflict must affect your characters in a way that forces them to act and grow as a result. A story with a weak conflict that leaves the characters exactly as they were at the start won’t be satisfying; your story won’t make a lasting impression.

Here’s a tip: The best way to learn how to write conflict is by reading it. The next time you’re reading a short story or novel, take note of how the author presents the main conflict and the specific ways in which the characters react to it.”

[found on http://www.huffingtonpost.com/2012/06/27/writing-tips-advice-fiction-authors_n_1628537.html]

How to Make a Who-Dun-It

[found on blog.karenwoodward.org; by Karen Woodward]

“1. Know who your murderer is and why they did it.

– What was their goal?
– What are the stakes?
– What motivates the killer?

By the end of the story make sure you’ve answered these questions in your manuscript.

2. Leave clues

The clues “do not have to be obvious or even fully explained. You’ll want to leave some “mystery in your mystery.”

3. After you finish the first draft add in clues where needed

Price’s tip: Red herrings are much easier to add in after the book is written as long as you don’t write yourself into a corner with your characters, such as explaining everything they do and why.

4. Don’t fully explain everything

Price writes: “Let your characters retain some mystery.”

People aren’t fully explained any more than they are wholly good or bad, your characters should reflect this.

5. Your protagonist doesn’t have to know everything, at least not right away

Like you and me, it’s okay if your sleuth doesn’t have all the answers and is unsure about what happened … as long as she gets there in the end.”

[found on http://blog.karenwoodward.org/2013/04/5-rules-for-writing-murder-mystery.html]