The Drama of Preaching

We are not seeking to explain the idea of the text. The gospel is never an idea! The gospel is an event through which God enters our lives in Jesus Christ. We tell stories so that people can participate in this gospel reality.” — Richard A. Jensen

the nature of narratives

“Of all the biblical genres of literature, narrative may be described as the central, foundational, and all-encompassing genre of the Bible.” (Greidanus 1988, 23)

“[Narrative] is an account of events and participants moving over time and space, a recital with beginning and ending patterned by the narrator’s principle of selection.” (Gabriel Fackre, in Greidanus, 189)

A. Narratives are historical.

They are not “story” in the sense of fictional, made up, and imaginative. They are selected, structured, emphasized, and faith-interpreted history.

B. Narratives have a theological point.

“Biblical narrative is indeed theological at the core and seeks to guide the reader to relive the truth encapsulated in the story. Narrative is not as direct as didactic material, but it does have a theological point and expects the reader to interact with that message.” (Osborne, 1991, 172)

C. Narratives have a theocentric purpose.

“Their purpose is to show God at work in His creation and among His people. The narratives glorify Him, help us to understand and appreciate Him, and give us a picture of His providence and protection.” (Fee and Stuart 1982, 74)

NARRATIVE PREACHING

A. Story (content) - a particular situation or specific incident.

This is usually the story recounted in the content of a biblical text. (It may sometimes refer to an illustration brought to the sermon by the preacher.)

B. Narrative (form) - the plot line typical of oral story telling.

The plot line is the process of “narrativity” - “the journey from itch to scratch,” to find the resolution to the tension or suspense of the story. It moves from disequilibrium or problem to resolution. (Lowry 1985, 65, 52)

This form of preaching (narrative preaching) may center around the development of a single story, or it may incorporate several short anecdotes/illustrational stories.

C.  Narrative Plot - stages of the narrative plot

This plan can be most naturally used with narrative texts. But it can also be used with didactic texts if the background drama, or tensions inherent to metaphors imbedded in the text are drawn out.

Eugene Lowry suggests that an effective sermonic flow must contain certain necessary ingredients if it is to maintain its sense of wholeness and continuity.  In essence he is arguing that any sermon regardless of the form (deductive outline, inductive outline or narrative story) must have a clear Focus, Turn and Aim. He defines these as follows.

Focus -  a problem or tension raised, issue to be dealt with. It is sometimes framed as a question.

Turn - the gospel (text) centered resolution to the tension, solution to the problem, or answer to the question.

Aim - the purpose of the sermon, life impact goal for the audience. It is truth to be experienced, not simply understood.

Lowry goes on to explain that this narrative flow from Focus to Turn to Aim can be thought of as a loop. Each part of the loop must be present or there will be a breakdown in narrativity resulting in a “shut down” of the listeners’ interest. Under focus Lowry suggests a need for first upsetting the listeners “equilibrium” through a clear statement of a relevant problem, tension or question. Then this problem is analyzed and evaluated to try to seek possible solutions. This then leads to the turn of the sermon which begins in suspense as possible solutions and answers are seen to be ineffectual, and then climaxes in the presentation of the gospel (biblical answer found in the text). This then leads to the aim of the sermon where the consequences of applying the Gospel are visualized (anticipated or called for).  📷📷

Problem introduced - Upset the equilibrium by setting up a tension/conflict. This arouses interest and starts the movement that carries the listener through to the end of the sermon. “Oops!”

Analysis of the problem - This involves examining the setting, characters, and tensions involved. “Ugh!”

Suspense - Propose clues to resolve the tension, often through failed attempts at a solution. Godless solutions attempted in the flesh. Audience sympathy and identification is crucial here. “Ohhh!”

Turning point - Reveal information that points to the solution, the gospel. This may be conviction of sin, self-understanding, decision to act, or a new problem solving approach. “Aha! Whee!”

Conclusion - Anticipate the consequences that came as a result of resolution. The narrative is completed now in a satisfying way. “Yeah!”          

So “Narrative Preaching” in Lowry’s sense…IS NOT

Merely using stories to make the sermon more interesting or challenging.

Merely preaching from a biblical story passage (narrative).

It IS… A sermon as a “homiletical plot”

A narrative flow, which from start to finish, binds the entire sermon into a single plot theme, and gives the sermon a cohesive force.

A narrative flow, which can have several sub-plots and sub-themes.

Thus, separate, but related illustrations may be used to punctuate and highlight the flow of the increasing tensions in the main plot.

Thus, teaching statements, or “precepts,” may be woven into the fabric of the overall narrative flow or story.

Narrative Sermons as Expository Preaching

A. The true meaning of a passage is discerned - through grammatico-historical exegetical method.

A study blending historical, grammatical, and literary analysis of the passage uncovers the author’s intended meaning in the original cultural context. Attention to the “genre rules” of interpretation for OT narrative, Gospels/Acts, or Parables are followed. Categories and rules of interpretation of biblical literary form are from the ancient cultural conventions, not modern categories. In Acts 7, Stephen recounted the story of Israel’s heritage, but he did so selectively, with a clear intent. His narrative was selective history with a sermonic purpose.

Lowry:   “As we do exegesis, it is especially important to find the “trouble” or dramatic tension in the biblical story or in the cultural context of the story. This sets up the disequilibrium that must be resolved.”

B. The meaning of the text is captured in a biblical concept - the “Theological Idea.”

Narratives are intended to convey a clear meaning which is called by some the “significance of the narrative” or in our case the “Theological Idea.” Because the Exegetical Idea will end up simply recounting the flow of the story, the significance of the story (theology conveyed, lesson to learn, etc.) needs to be captured in the Theological Idea (TI). Narratives address a real need in a theocentric manner. God is the “hero” of the story, so the Theological Idea is usually God-centered. In a narrative, the TI rarely emerges until the end of the story.

In Acts 7, Stephen developed his survey of history in response to charges made against him (Acts 6:11-14; 7:1) - a clear issue. The TI of the “trial” & sermon then gradually emerges, and we finally realize that the Sanhedrin is on trial! (Acts 7:51-53)

Lowry: This relates to the “Focus” of the sermon, the real need being addressed. The Focus is posed as the sermonic question, tension, problem, or issue. It is the inductive hook related to felt needs. It sets up the interest and need of the audience for the eventual emergence of the Theological Idea.

C. The form of the sermon is designed to enhance its purpose - understanding and application of the concept.

Narrative sermons can enhance the meaning and impact of narrative passages. They utilize similar literary techniques to provide for a “dynamic equivalence” response of the modern audience. In Acts 7, the people clearly caught the purpose of the message and reacted.

Lowry:  Look for the “Turn” of the story. Here the flow of the narrative turns toward resolution. This is the “but God . . .” moment, the gospel-centered resolution of the tension, or solution to the problem, or answer to the question. It may be found in the text or wider context that informs the sermon text. It may be explicitly or implicitly portrayed.

D. The concept is applied to real needs - of the preacher and hearers.

The purpose of the sermon if fulfilled as application is made to the real need of the preacher and the audience. In a narrative sermon this may be more indirect and people apply the message to themselves having identified with the story and understood the TI and applied it to themselves in the form of a Homiletical Idea subtly suggested in the sermon. At other times, the inductive process is completed, the Homiletical Idea is announced in the form of a clearly stated Preaching Idea. In this case applications may be made very directly. (Stephen in Acts 7:51-53; Nathan with David in 2 Sam 12:1-12)

Lowry: This is the “Aim” of the sermon. It is the purpose, the life impact goal for the audience. It is truth to be experienced, not simply understood.