Points in a Narrative Text Sermon

There is a field of homiletics referred to as narrative preaching, but this post is concerned with the preaching of a narrative passage – eg. David and Goliath, Joseph in Potiphar’s House, Hannah & Samuel, etc.

In other posts I have encouraged the use of full sentence points, rather than descriptive titles that make the message outline look like a commentary synopsis.  The full thoughts help you communicate effectively, generally avoiding historical past tense sentences helps you not sound like a commentary recycler.  But it is worth clarifying a couple of points on points:

1. If the message structure reflects the story structure, then some points may be better stated in historical terms. What I mean is that in an attempt to be contemporary, we can end up making three or four life principles out of the developing elements of the story, rather than allowing the story to be told properly.  The problem then becomes a moralizing approach to the details of a story, rather than allowing the force of the story to stand behind the main point, which itself might best be the only focus of application.  Stories that are told effectively will hold attention, so it is not necessary to generate points of relevance or application throughout the detail of the story.  Pay careful attention to the introduction, generating a definite sense of sermon relevance there, then feel free to be in the world of the narrative for a large part of the message, continually building to the relevance that may only become overt in point 3 or 4 (i.e. whenever the main idea is revealed with its abiding theological thrust).

2. Shorter biblical stories may work best with a default sermon outline. Namely, point 1 is to tell the story.  Point 2 is to state and clarify the main idea of that story.  Point 3 is to reinforce and drive home the application of that main idea.  In this case point 1 is automatically historical.  Point 2 should be written in contemporary terms.  Point 3 has to be contemporary, including all sub-points.  Again the introduction is important, but I suspect that will be the case in almost every sermon that we preach (whether we give it the necessary attention or not).  This approach underlines the fact that the outline of a sermon is for your eyes only.  Once we realize our goal is not to transfer an outline, but to give the text in such a way as to clarify the main point and apply it, then we are freed from the burden of turning every narrative into a parallel rhyming assonated demonstration of guilded wordsmithery.

Managing Message Momentum

Even the best message preparation often overlooks the critical issue of momentum.  So messages will often follow one of these patterns:

1. “U” … Start with a bang – drag on through the bulk – pick up for a strong finish.
2. “/” … Start slow – gradually increase in energy and get going.
3. “\” … Start strong – lose dynamic after the introduction, or first point, and drag to the end.

Each of these patterns will undermine the effectiveness of the preaching event.  Equally, while some preachers seem content to flatline “_” (i.e. never generate energy or momentum), it is not usually possible for listeners to cope with the opposite (i.e. constant high energy and fast pace). If you have felt like your preaching tends toward one of these patterns, or if others have hinted at it.  What can you do?

1. Try to work out where the momentum was missing. Was it an unclear transition?  Was it a sequence of explanatory points?  Was it at the point you lost confidence in your content?  Was it just through a lethargic unplanned introduction?  Was it at a difficult juncture in the text?  If you can figure out where momentum was missing in previous messages, this will help you identify where the same could happen in future messages.
2. Listen to yourself practice. Sometimes you can get the sense of momentum struggles in a run through of the message, but not always.  It may be worth recording a run through and listening to it . . . but obviously that requires you to be on top of your preparation.
3. Evaluate the sermon map. Most of us tend to use an outline rather than an actual sermon map, but we can still evaluate it as a map.  As well as evaluating it for location of illustrations (the normal approach, which actually can generate predictability as people see every illustration coming), also look for points of relevance, and consider the terrain . . . will this bit be hard to traverse for the listener?  Marking your outline may allow you to energise a potentially monotonous section with illustration, review & preview, interlude, or even by overviewing rather than detailing a segment.
4. Weigh the sermon on the scales. Many of us tend toward simply making too many points, giving too much explanation, trying to give too much and the sermon is simply too heavy.  What would be lost if you chose to lighten the content slightly and create some breathing space?  If the main point of the text is not lost, then are we choosing to keep content because we want to demonstrate our insight, our study, our knowledge?

Energy, pace, vocal variation, movement, progress, laughter, relevance . . . the complex factors of message momentum.