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Representing the Savior on Stage

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Photo from the 2019 Hill Cumorah Pageant.

The theater has been an important part of Latter-day Saint culture from the very beginning. One of the most prominent buildings erected in Nauvoo was the cultural hall, where the Saints would gather to enjoy concerts, plays, and other performing arts that celebrated the life of the Savior and taught other important gospel concepts. Visitors to Nauvoo can still attend events held in the cultural hall to this day, and it’s a marvelous experience.

As Latter-day Saint creators today, we frequently feel a pull to use our talents for the same objective—to honor the Savior and to convey our love for Him to others. I personally feel this is the most important use of our talents, and perhaps even why we were given them in the first place. As with all gifts, however, there are ways to use them appropriately, and this is especially true when it comes to depicting the Savior in our dramatic works.

Several years ago, I had the opportunity to serve on the Church’s music and cultural arts committee. We had the task of reading over scripts and musical compositions submitted by Church members to determine whether they were appropriate to be performed within our meetings. This committee no longer exists, but I certainly did enjoy my time there.

As part of our process, we evaluated each piece for the following criteria, which you can use as well in examining your own work.

Is the Savior Depicted on Stage?

Great care should be taken in how we show the Savior in our theatrical productions. We should demonstrate reverence in every respect, including how the actor is costumed and who is chosen to play that role. As per the Church Handbook, the Savior may be portrayed by a man “of wholesome personal character” (Chapter 20: Activities 20.5.6). Additionally, the Primary may portray the Savior in Nativity scenes, but should not depict Heavenly Father or the Holy Ghost (See Chapter 12: Primary 12.5.5).

Is the Savior Quoted Correctly?

While other characters in our play may be fictional and we might use our imaginations to create dialogue for them, the actor portraying the Savior should only speak lines taken directly from the scriptures, without adding anything extra. It’s best to check the script carefully to make sure we have quoted the Savior’s words as accurately as possible. An excellent example is found in the Bible and Book of Mormon videos the Church has produced over the last several years. As I watch them, I feel as though the scriptures have come to life before my eyes, which helps me understand and appreciate them more. Attending a play that reverently features the words of the Savior can likewise be a testimony-building experience.

Is a Testimony of the Savior the Prevailing Message?

If you ever had the opportunity to see the Manti Pageant or the Hill Cumorah Pageant, you’ll remember how those productions made Christ the focus of the story. While they depicted the difficulties experienced by the early Saints (in the case of the Manti Pageant) and the wars between the Lamanites and Nephites (both the Manti Pageant and the Hill Cumorah Pageant), the message was brought back to the hope that Jesus Christ gives to all of us. Depictions of sin, war, and conflict should be kept in careful balance, and the audience should be left with feelings of hope, joy, and reverence.

Our Personal Preparation

I can think of no subject more daunting than writing about the Savior. Because the subject is so immense, no author could truly write something that adequately conveys everything that He is, but this does not mean we shouldn’t try. Again, we were given our talents so that we might share our testimonies with others, and our attempts don’t have to be perfect.

I suggest that as we embark on these projects, we prepare ourselves in the following ways:

  1. Study the life of the Savior and His actual words as found in the New Testament and the Book of Mormon.
  2. Look up conference talks and other addresses that focus on the Savior and His mission.
  3. Pray earnestly for inspiration so that we may be guided in what to say and how to present it.
  4. Attend the temple when location and circumstances permit and seek guidance there.
  5. Seek out positive examples of the type of art we wish to create and study them to determine why they are successful in conveying their themes.

The most important element in our preparation is our willingness to humble ourselves and allow the Spirit to teach us how to create. It’s far too easy to let our artistic egos take the upper hand, but when we’re seeking to write something that truly has the power to carry messages to the hearts of our viewers, we should step back and let the Spirit take the lead, for that is the true way people are touched.

Theater is just one medium through which we can teach others about the Savior, but it’s certainly powerful. It not only touches the audience, but the cast as well. When we choose such an uplifting topic and show it the reverence it deserves, the experience can change lives.

A headshot of Tristi Pinkston.

Tristi Pinkston

Tristi Pinkston is the mother of four, the wife of one, the author of one hundred and seventy-five, and the editor of oodles. She serves as the chairman of the board for the Bear Lake Arts Council and participates enthusiastically (if not with utmost skill) in their theatrical productions. She is currently the editor-in-chief for the resource library here on the LDSPMA website. You can learn more about her on her website.

    What’s in a Melody? Eight Tips to Getting It Right

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    Crafting the perfect melody for your lyrics can be tricky. On one hand, you want the music to sound original and fresh. On the other, the melody must be memorable and catchy enough to stick in the listener’s mind. There are many factors to consider when composing a melody from the limited number of notes on the scale. Let’s consider a few strategies necessary to write an unforgettable song.

    Stress Less 

    There’s a good chance that your initial attempts to write a song will resemble something already written by you or someone else. That’s okay. You can use various techniques to set your work apart, but first consider how well the music fits the lyrics. Next, reflect on the mood you want to create and the emotions you wish to evoke.

    Words First vs. Music First

    Every songwriter faces the fundamental question, “Words first or music first?” The good news is that there is no single answer to this question. Pre-written words might spark ideas for new compositions, or existing music could be the springboard for creative lyrics. Play around and discover what method works best for you. 

    Try New Things

    Experiment with your melody! Try playing various versions to find a new and interesting arrangement. Switch up the scale or mode to give your melody a different flavor. Change the rhythms in the song. Do something unexpected! Add variety to your melody to catch the listener’s ear.  Try your melody on different instruments, whether standard or digital. Listening to different timbres of instruments may help you think of new compositional possibilities. Play around with dynamics and make sure there’s enough contrast throughout your song. Variations in dynamics can make the difference between a good melody and a great one.

    Syllable Stress 

    Carefully consider the syllabic stresses of your text and how your melody emphasizes certain words. For example, the word “father” is spoken with a stressed first syllable, “FA,” and an unstressed second syllable, “ther.” Different time signatures naturally place stress on particular beats. For instance, a song written in three-quarter time creates a stressed first beat, followed by two unstressed beats. Ideally, the stressed syllables or words should fall on the stressed beats in the music. In the above example, the first syllable of “father” should fall on the first beat of the measure so it’s given special emphasis while the second syllable remains unstressed.

    Making melodic decisions can be a bit like piecing together a puzzle, but focusing on rhythmic patterns will help your song flow naturally. 

    Jumps and Skips

    Keep the performer in mind when writing a melody. If you are writing a vocal solo, know what range of notes each voice part can sing. Using a wider range of notes makes singing a piece more difficult.

    Also, remember that it’s much easier to sing notes that are next to each other on the staff than those that skip around in large jumps and intervals. Make sure the range and position of the notes match the skill level of your intended performer. 

    A Musical Canvas 

    Take opportunities to “paint the text” with the accompanying music. For example, songs often use sixteenth notes to mimic the effect of flowing water. A text about fire might use staccato notes to sound like crackling sparks. These effects might not work for every text, but when appropriate, painting the text with music can exemplify the meaning of the piece. 

    A Catchy Tune

    What makes a tune get irrevocably stuck in your head? No one method guarantees your melody will be “sticky,” but catchy tunes have two things in common.

    First, many popular songs repeat words or parts of the tune. Just think of how easy it is to get The Beatles’ “She Loves You” stuck in your head with its catchy refrain of “Yeah, yeah, yeah!” The repetition is effective without being annoying.

    Second, a catchy melody is often simple. If a tune is too complex, it will be hard to remember, and you probably won’t find yourself humming it later. This rule also applies to the lyrics. To make your song relatable and memorable, avoid uncommon words that your audience probably wouldn’t know. When in doubt, sing or play your tune for someone else–if they start humming along with the second verse, that’s a surefire sign you’ve written a winner. 

    Your Laboratory 

    Sometimes, lightning will strike, and you’ll come up with the perfect combination of melody and words in a flash of brilliant inspiration. More often, the process will require experimentation, fine-tuning, and endurance to get it just right. You don’t have to settle on the first idea that comes to mind. If you give yourself time to mull the song over, you will come upon creative revisions you hadn’t considered at first. Just like in a real laboratory, sometimes your creations will blow up in your face, and you’ll have to start over. But occasionally, you’ll find the perfect combination of elements right away and produce a spectacular reaction.

    A headshot of Michael Young.

    Michael D. Young

    Though Michael grew up traveling the world with his military father, he now lives in Utah with his wife, Jen, and their three children. He played for several years with the handbell choir Bells on Temple Square and is now a member of the Tabernacle Choir at Temple Square. He is the author of the novels in The Canticle Kingdom Series, The Last Archangel Series, the Chess Quest Series and the Penultimate Dawn Cycle (The Hunger), as well as several non-fiction works, including An Advent Carols Countdown, The Song of the Righteous and As Saints We Sing. Visit his website here.

      Using YouTube and Social Media to Inspire and Help Others Grow Spiritually

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      The social media community can be overwhelming, negative, suffocating, and even toxic, but it doesn’t always have to be this way. If we remember we are all children of God with the light of Christ in our souls, social media can become a connecting, encouraging, and uplifting place.

      Almost every person I know is somehow involved in this online world. Some people thrive on posting about their lives while others are bystanders who just like to consume content. When I decided I wanted to build my own space on YouTube, I had two goals in mind:

      1. Inspire people to start living life to the fullest.
      2. Share my testimony with the world.

      That is how Never Ends Now, my YouTube channel, was created.

      My husband and I were driving from Utah County to our home in St. George. This drive was very familiar to us, and we often used the time to talk about how we wanted our channel to go. I told him how I wanted to take the fear out of living and persuade people to find the good in their current situations. I wanted us to be unique and adventurous and take full advantage of our time on earth. That’s when my husband suggested that we do things we have never done and call the channel Never Ends Now. I fell in love with the concept, and now, that is what we do weekly!

      YouTube started out as a fun way to document our growing family, but when our channel took off, we decided to make a career out of creating and publishing videos of our experiences. Our platform consists of us starting a family, traveling the world, and everything in between. Our biggest hope is that others will go out and try things they’ve never done and appreciate the joy in life.

      Staying Grounded

      The more engagement you receive, the more profit you make, and so it’s easy to get caught up in the numbers when you’re relying on your social media income. I often find myself consumed by questions like, “How many views did I get?”, “Why didn’t people like this post as much as the other one?”, or “What’s trending, and how can I follow along?” Remembering my two goals keeps me grounded when I find myself wandering down those paths. As long as I’ve inspired people and shared my testimony in every video, I’ve learned to be satisfied with whatever the resulting numbers may be.

      Shining Authentic Light

      I’m an all-or-nothing kind of person, so I tend to get carried away sometimes. In the beginning, I would try extremely hard to bring up God or a principle of the gospel in any way that I could. I wanted to make sure I shared my testimony with the world. My pure intention was there, but honestly, it didn’t feel authentic. I felt like a child being told what to say in a fast and testimony meeting. I came to realize that I don’t necessarily have to speak my testimony for others to hear, but I can show my testimony where others will see. I stopped trying to force it and just shared my beliefs through the way I lived. This understanding brought me joy and creativity instead of pressure.

      Showing Your Testimony

      When my daughter was born, I remember editing the video and feeling so anxious about posting it to the world. Her birth was one of my most sacred experiences, and I wasn’t sure if I was ready to share something so personal. I didn’t want to pollute it by letting the world have access. After praying about my decision, I decided to move forward and upload it. It became one of our highest-viewed videos. I received comments and messages from complete strangers about how much the video impacted them. I realized that the Spirit was able to testify to everyone watching without me even opening my mouth. I believe in eternal families. I believe that bringing life into this world is a sacred thing. I believe that the veil is open, and heaven is so close when a child is born. None of my beliefs were spoken aloud, yet the Spirit was able to touch people’s hearts about these truths.

      You don’t need a formal testimony to be a light on social media. God magnifies efforts and the Spirit always testifies of truth in any form. Living a life patterned after the Savior’s example is testament enough for the world to notice.

      A headshot of Aspen Bailey.

      Aspen Bailey

      Aspen Bailey and her husband, Drake, are popular YouTube creators documenting their lives as Latter-Day Saints, parents of their daughter, Rainee, and having new adventures. You can see their channel here.

        The Importance of a Good Book Cover

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        When I decided to self-publish my Legends of Muirwood trilogy, I didn’t know a lot about book cover design. Actually, I didn’t know anything. It probably shows.

        My goal at the time was to get the trilogy out in the world without spending a lot of money. I bought a package that included cover design through a self-publishing platform for a bargain price, and I gave some suggestions about abbeys, forests, and fonts. They delivered what they promised: three book covers. But they were all missing what really mattered—a way to help potential readers judge whether they might like the book.

        The original covers of Jeff Wheeler's first three books.

        As a hybrid author with over thirty published novels, I’ve gained an unusual perspective about the process of designing cover art. I want to give you three BKMs, or “best-known methods” about book cover design so you can see what an author—indie, traditional, or hybrid—needs to keep in mind when designing or choosing a cover.

        BKM #1: It’s the Wrapper

        Imagine standing in line at the grocery store and seeing a king-sized Reese’s Peanut Butter Cup on sale. You buy it with your groceries, get in the car, unwrap it, and prepare to sink your teeth into that chocolatey-peanut-buttery nirvana . . . but it’s a York Peppermint Patty. You might feel frustrated because you were expecting one thing and got another. Book covers, like candy wrappers, set expectations with the reader up front. The cover clearly shows the genre of the story.      

        It’s very easy to check on Amazon what the bestselling books are by category and see what design elements are common to the genre. You can look at the size of the fonts, the placement of the author’s name, any bestselling tags, and the color schemes. It’s not a coincidence that a Reese’s candy wrapper looks the way it does or that stores shelve similar items next to each other. Authors are brands too, so if you want a reader to anticipate a certain genre or style of book, it helps if your cover looks similar to others in the same genre.

        BKM #2: It’s Professional

        Long gone are the days when mediocre-to-cringeworthy book covers (like my original Muirwood ones) would be tolerated. If I tried that now, I can’t imagine what would happen. Readers do judge a book by the cover, so it’s important to hire a professional cover designer because you don’t get a second chance to make that first impression. In fact, especially in the indie space, even the New York Times bestselling authors I know will redesign the cover of a book when they feel it isn’t connecting with the proper audience. Even if the first cover looks amazing, it’ll hurt sales if it doesn’t resonate with the right audience. Many authors have created new covers and found that the second one worked better.    

        This year marks the 10th anniversary release of my Legends of Muirwood trilogy. We redesigned the covers to strengthen the brand for the series and tie the series in with other books written in the same world. There’s quite a difference from the originals.

        The redesigned covers for Jeff Wheeler's first three books.

        I highly recommend Bryan Cohen’s Five-day Author Ad Profit Challenge. Even if you haven’t written a book yet or have one to sell, you can still join his Facebook page and watch the videos when he runs the challenge. You’ll learn a ton (for free) about how Amazon algorithms work, how to design a cover, and how to write killer ad copy for your books. I wish this existed back when I first self-published.

        Readers can tell the difference between a cheap cover and a professional one. Cover designers are mostly freelance these days, and with a little research, it’s not difficult to find ones you like. For example, most books include the name of the cover artist in the front matter, which you can see for free on Amazon using the “look inside” feature.

        A screenshot showing where to find the "look inside" feature on an Amazon book.

        I can’t recommend enough getting a professional to do the job right. There are cover art stock photos you can purchase if you’re on a budget, but at the very least, hire a graphic designer to help you with the fonts, styling, and sizing. The last thing you’d want is to spend a lot of time writing a book that no one will read because it looks amateurish. I was satisfied with the covers my publisher used for my first several books, but it wasn’t until they hired Shasti O’Leary Soudant to design the cover of The Queen’s Poisoner that I learned firsthand the power of an amazing cover. You know the saying that “A rising tide lifts all boats”? After that book came out, all my books began to sell better. I’ve now hired her to do some of my indie titles as well.

        BKM #3: It’s Expected

        Word of mouth is the number-one way people find books they enjoy. There just isn’t a replacement for the solid recommendation of a friend or someone you trust. Readers find new authors all the time through email subscriptions to Amazon’s top Kindle book deals, BookBub, or Goodreads. There is promotional text there, of course, but the cover catches the reader’s eye first. They look at the cover for a second or two before reading the blurb. If they’re still intrigued, they’ll click on the link to see how many reviews it has, how many stars it has received, etc. These are all ways that a book is “judged” before it’s read. The reader’s visceral reaction to the cover starts it off. That’s why readers expect the cover to tell them about the genre and author. They expect a title that’s easily searchable and interesting enough to entice them to learn more.

        So, let’s get over the out-of-date and untrue adage about not judging a book by its cover. We base our judgment on if the wrapper matched the content, if it was professionally done, and if it met our expectations for what we purchased and why. A great cover can’t turn a meh book into a bestseller, but there aren’t many bestsellers with a meh cover. Writers today have to be professional to come up with stories that will keep a reader turning the pages. Thankfully, there are skilled wizards of the imagination who can help aspiring authors design book covers that catch readers’ eyes and delight their hearts.

        A headshot of Jeff Wheeler.

        Jeff Wheeler

        Jeff Wheeler is the Wall Street Journal bestselling author of the First Argentines series (Knight’s Ransom, Warrior’s Ransom, Lady’s Ransom, and Fate’s Ransom); the Grave Kingdom series; the Harbinger and Kingfountain series; the Legends and Covenant of Muirwood trilogies; the Whispers from Mirrowen trilogy; the Dawning of Muirwood trilogy; and the Landmoor novels. Jeff is a husband, father of five, and devout member of his church. He lives in the Rocky Mountains. Learn more about Jeff’s publishing journey in Your First Million Words, and visit his many worlds at his website .

          How I Research for a Historical Project

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          By Heather B. Moore

          Some people love research, while others don’t. They want to get into the meat of writing as soon as possible. But if you’re planning to write a historical novel or other project, research is vital to developing the story and bringing credibility to your work. As the author of dozens of historical novels set in eras ranging from ancient Israel, Mesopotamia, the Georgian era, the Regency era, the Victorian era, the early 1900s, World War II, the early Cold War era, and the 1980s (yes, that’s considered historical now), I’ve learned a few tips and tricks to help me tackle each project as it comes along.

          Search for Sources

          I search on Amazon or other new/used book sites and decide if there are books that I’d like to own so I can have them constantly at my fingertips. If possible, I like to get the paperback version to annotate, the ebook version to do a quick search for a particular key element, and sometimes the audiobook to immerse my brain in the era. I own all three versions of some research books. You can also search Google Books and find older digital books that are absolutely free. YouTube has recently become a key source for me with the plethora of documentaries and shorter historical pieces that are available.

          Determine Which Sources to Use

          Since you can’t read every book written about a subject (unless there are only a few), you might have to be selective. On average, I read five-ten books about a historical subject in preparation to write a book. Some sources are a gold mine. Other sources might just be more of a quick reference to verify the uniforms worn by a particular army during a specific war. Online articles (including Wikipedia) can be great quick go-tos. You can check at the bottom of the articles as well for further sources as needed.

          Research Key Elements

          Don’t try to be the expert, but research enough to flesh out your story and bring authenticity. You probably don’t have ten years to research everything you can about Italy in the seventeenth century, but you can zero in on several key elements, situations, and cultural points in order to create a vibrant story that makes the reader feel as if they’re looking into the era through a camera lens.

          What are these key elements? Start with the five senses.

          1. Touch—what do things feel like? Are your characters sitting on stone benches? Bamboo chairs? Scratchy woolen blankets?
          1. Sight—what is your character seeing? A bombed city? A river meandering through hills covered in small wooden huts? Tropical trees? Sand and rocks?
          1. Hearing—what sounds are in the setting? The puttering of a small vehicle? The clattering of horses’ hooves on cobblestone?
          1. Smell—does your character live on a farm? By the ocean with the scent of sea breeze as a constant companion? Is it spring with blossoming fruit trees?
          1. Taste—what kinds of food surround your character? Do they spend their days in preparation? Is food a main part of their day? What plants and crops are native to the country you’re writing about?

          More elements include:

          1. Major historical events during your story’s timeline. You can’t ignore a major historical event (or weather event, for that matter) if your story covers that day/week/month/year. If for some reason, you do decide to ignore or brush over a major event, document the reason why in your chapter notes or an author note as a disclaimer.
          1. Government/politics. Just as our modern lives are framed by the laws of our land, so are historical characters’ lives. What types of laws were in place? How were criminals dealt with? Were there discrepancies between the sexes or racial groups?
          1. Religion. Even if your character isn’t religious, others around them will be. Religious beliefs can also be a major character motivator, so make sure you aren’t skipping over it in a main character or sub character.
          1. Setting. A historical setting becomes a character of its own. By writing about the past, you are researching old information instead of brainstorming new ideas and inventing new things, like you would for sci-fi or fantasy. The setting can affect characters’ choices and motivations. A story set in the middle of a Minnesota winter has a completely different feel than one set in sunny San Diego.
          1. Dialogue. This can be debated both ways, but generally keeping your dialogue free of modern cliches is very important. Most readers don’t want to read formal, stilted, cumbersome dialect, so find a handful of words that will keep your reader immersed in the historical era. Depending on your time frame, instead of “kitchen,” you might say “cooking room,” or instead of “bedroom,” you might use the more historical-sounding “bedchamber.”

          Start Writing

          You don’t need wait to write until you have done your research. Doing both at the same time is often necessary. I’ll typically start with research—reading sources and taking notes—and when I feel like I can effectively write the first few chapters of the book, I’ll begin writing, knowing there might be some stopping points along the way to deep dive into more sources. I try not to write too far ahead of my research, though, or I run the risk of writing an entire scene that has to be greatly revised.

          Everyone’s method will vary, but hopefully something from my journey will be useful to you.

          Heather B. Moore

          Heather B. Moore is a USA Today bestselling author of more than ninety publications, primarily historical and #herstory fiction about the humanity and heroism of the everyday person. She attended Cairo American College in Egypt and the Anglican School of Jerusalem in Israel. Despite failing her high school AP English exam, Heather persevered and earned a Bachelor of Science degree from Brigham Young University in something other than English. Heather dives into the hearts and souls of her characters, meshing her love of research with her love of storytelling. You can learn more about her on her website.

            Creating Hymns from Scriptures

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            By Michael D. Young

            Some of the greatest hymns are closely linked to passages of scripture. For example, the song “Press Forward, Saints” in the current hymnbook is based directly on a passage from 2 Nephi 31:20. In this case, the author took the message and even some of the exact wording from the scripture and created a hymn that has been sung in sacrament meeting and general conference. In fact, it was specifically written because there were not enough hymns based on passages from the Book of Mormon.

            Adapting a passage of scripture, however, presents its own unique challenges. There is a delicate balancing act between maintaining the message and themes of the original scripture while still creating a text that conforms to the conventions of rhyme and meter. Every adaptation is going to look a little different, but there are several guidelines that could help you craft your gospel masterpiece.

            Looking for Themes

            Before you start writing, take the time to read the scripture carefully, pray, and ponder the meaning of the passage. Listen to the promptings of the Spirit and see what parts of the passage stand out the most. With this guidance, look for key phrases or words that could serve as the basis for the song’s lyrics or chorus. These phrases will help tie the song to the scripture and make it more memorable. Often, an entire song idea can grow from a single important word or phrase. For example, if you read Amos 3:7, you could take the phrase “His servants, the prophets” and write a text based on that phrase.

            Using Exact Wording vs. Paraphrasing

            You will want to consider how much of the scripture you want to use word-for-word and how much you want to paraphrase. Both of these methods can be successful.

            Consider Handel’s timeless work Messiah. The majority of this oratorio adapts the scriptures exactly. For example, Handel builds an entire chorus on this well-known scripture: “Behold the Lamb of God that taketh away the sin of the world” (See John 1:29). He uses all of the words exactly. Then again, many composers have created songs based on the 23rd Psalm, where they paraphrase the words but keep all of the ideas intact. A good example of this is called “Brother James’s Air.” Listen to it here.

            Thinking about Perspective

            If you decide to paraphrase, consider the point of view. Are you writing from a first-person perspective? This puts you in the shoes of the speaker, whether it is a prophet or another scriptural character. Some texts are written from the perspective of the Savior. This can result in personal, insightful texts, but you also need to be careful to write these respectfully. You can also write from your own perspective or as a third-person observer. Sometimes it makes sense to try your texts from different perspectives to see which you like best.

            Using Repetition for Emphasis

            Repetition is a powerful tool in songwriting and can be used to reinforce the key theme of the passage. Consider repeating certain phrases or words throughout the song to help drive home the message. One good example of this is the hymn “Holy, Holy, Holy.” Even the title repeats the main theme. The hymn uses the refrain “holy, holy, holy” when talking about God throughout the hymn, which ties the whole text together. Listen to this hymn here.

            Considering the Audience

            When writing the song, consider the intended audience. Will the song be used in a worship setting or for personal reflection? This will help guide the tone and style of the song. Is it something you see being presented in sacrament meeting, or would it fit better in a fireside or on a youth album? When in doubt, read the text to others and ask them if it is appropriate for the intended setting.

            You also want to make sure the language is at the level of your audience. Sometimes scriptural language can be confusing because it uses words that are not common today. When adapting the scriptures for a younger audience, ensure that you use clear, simple language that children will understand.

            Using Attributions

            Whenever you paraphrase a scripture or quote from it directly, you should attribute it on your sheet music. Most of the time, it is enough to say “based on” or “inspired by” and then give the scripture reference. Looking up the reference can help the listener understand the text better and gain a deeper understanding of the original passage.

            Bringing Listeners Nearer to God

            President Spencer W. Kimball once said, “Some of the greatest sermons that have ever been preached were preached by the singing of a song.” (Hymns, ix.) When adapting the scriptures into songs, you are accessing a powerful delivery system that can help the doctrines of Christ reach deep into people’s hearts. Well-crafted songs have the power to inspire and change lives, and there is no better foundation for these songs than the scriptures.

            A headshot of Michael Young.

            Michael D. Young

            Though Michael grew up traveling the world with his military father, he now lives in Utah with his wife, Jen, and their three children. He played for several years with the handbell choir Bells on Temple Square and is now a member of the Tabernacle Choir at Temple Square. He is the author of the novels in The Canticle Kingdom Series, The Last Archangel Series, the Chess Quest Series, and the Penultimate Dawn Cycle (The Hunger), as well as several non-fiction works, including An Advent Carols Countdown, The Song of the Righteous and As Saints We Sing.  Visit his website to learn more.

              Tips for the Creative Parent

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              As parents, we want the very best for our children, and we devote a certain amount of time each day to seeing they have what they need. As children of God ourselves, we also feel the heavenly pull to “create something that did not exist before,” as Dieter F. Uchtdorf reminds us. Creation is a godly attribute, and our participation in the arts is pleasing to our Father in Heaven.

              The book of Ecclesiastes tells us that to everything there is a season, and we may feel that our endeavors need to wait until our children are older. I certainly felt that way when I began my family, but then I was strongly prompted not to ignore my desire to write. It wasn’t easy, but as I learned to juggle my schedule, I was able to balance motherhood and a stay-at-home career, which proved to be necessary as the economy fluctuated.

              Perhaps my experiences can be of use as you seek time to explore your creativity while also raising your family. My thoughts are geared toward writing, but they can be adapted to any artistic endeavor.

              A young mother writes on her computer while balancing a baby on her lap.
              A young mother writes on her computer while balancing a baby on her lap.

              Preparing Meals and Snacks

              While it’s best to prepare foods from scratch when possible, there are times when that’s just not reasonable or feasible. Simple breakfasts like cold cereal will do in a pinch (there are varieties with less sugar). You can also do cheese, crackers, carrot sticks, and lunch meat for lunch. I do try to prepare “actual dinners,” as my daughter puts it, and I do make breakfast and lunch, but on days when I’m seriously writing, I let mealtimes become more casual. Some ideas:

              a. Keep yogurt in your fridge for a quick snack for you or the kids. Yogurt and a banana make a great breakfast, too.

              b. Take a loaf of bread and make it into a whole stack of sandwiches. Then slide the sandwiches back into the bread sack. When someone needs a sandwich, they can just grab one out of the fridge.

              c. Designate one crisper in your fridge to be a “snack drawer.” Fill it up with apples, cheese sticks, yogurt, etc. When your children want a snack, tell them to go get something out of the “snack drawer.” You can do the same thing in your cupboard. Make a basket with pretzels, raisins, crackers, etc. and have that be the special “snack basket.” You can take sandwich bags, break the packages down into serving sizes, and you’re your children they can have one so they don’t run off with the whole box.

              d. Make meals ahead of time and stick them in the freezer.

              e. When I buy a large package of meat, I like to cook it all up, divide it, and then freeze it. That way, when I go to use it, I just warm it through instead of having to both defrost and cook it.

              f. Make tomorrow’s dinner while you’re making tonight’s. Cover it and put it in the fridge, then just throw it in the oven tomorrow night.

              g. Teach your older children how to make sandwiches, warm up soup, prepare drinks, etc. They get a sense of pride in their accomplishments when they are allowed to help make a meal.

              These are all things you can either direct from your desk or will help you spend less time in the kitchen, which equals more time at the computer.

              Entertaining the Troops

              a. There are many questionable streaming services and we need to make careful viewing choices, but there are some wonderful programs that are fun and educational. My kids have learned a lot from shows like CyberChase, Reading Rainbow, Sesame Street, The Magic School Bus, and the like. We also love Veggie Tales, which is based on Bible stories. There’s nothing wrong with turning on the TV and letting your kids watch a positive show while you write—keeping everything in balance, of course.

              b. Get some paper and crayons and let your kids “write” a book of their own while you’re working.

              c. Ask older children to read to the younger ones.

              Simplifying Housework

              a. I have to leave my desk and walk around periodically, so while I’m up, I’ll change out the laundry and put in a load of dishes. Usually by the time I’m done doing that, I’ll be ready to get back to work.

              b. The happiest children are the ones who feel they are valuable in their homes and who have a sense of purpose. When you teach your children to do chores, you are helping them to feel needed. Of course, keep the chores age-appropriate so they aren’t unfair and don’t become overwhelming, and work alongside the child. As you team up to turn a half-hour job into a ten-minute job (freeing up twenty minutes), you’re also drawing closer together.

              c. Reevaluate your thinking about housework. Are there ways you could simplify your routines? Can you put up with toys scattered across the floor for a little while so you can finish your chapter? Is it necessary to have your dishes perfectly stacked all the time? When you’re on a roll with your book, it’s okay to let some things slide until you’re done and catch up later.

              Organizing Your Time

              a. I like to assign certain tasks to certain days of the week. For instance, while I was a Cub Scout leader, Wednesday was Scout Day. After lunch, I’d sit down and review what I needed to do to prepare for the meeting at 4:30. I wasn’t writing during this time, or grocery shopping, or anything else. After the boys left, I’d look at the next week’s meeting. I’d do ahead-of-time prep work, and I’d put needed items on my shopping list. Then I didn’t have to think about it again until the next Wednesday. When I was a representative for a local direct sales company, Tuesday was my prep day for that. Look at your life – are there tasks you can isolate to one day a week?

              b. Create an errand day. I used to run out and do errands several times a week, and I found I was away from home a lot. Now I designate an errand day. This usually coordinates with payday. I’ll pay the bills, and then I’ll go out and do my grocery shopping, trip to the post office, etc. all at once. It makes for about a two or three-hour trip, but it’s better for me to get it done and over with.

              In each of these things, seek the guidance of the Spirit. You will be directed to fun activities for your children and ways to delegate and organize. You’ll find that you’re prompted to know when your children need you most and it’s time to put down your project, and you’ll be led in how to meet their needs most effectively. The Lord will bless your sincere desires to serve Him both as a parent and as a light to others by means of your art.   

              A headshot of Tristi Pinkston.

              About the Contributor

              Tristi Pinkston is the mother of four, the wife of one, the author of one hundred and seventy-five, and the editor of oodles. She serves as the chairman of the board for the Bear Lake Arts Council and participates enthusiastically (if not with utmost skill) in their theatrical productions. She is currently the editor-in-chief for the resource library here on the LDSPMA website. You can learn more about her on her website.

                Channeling Your Inner Voice

                By Leave a Comment

                A person writes in their journal.

                Okay, I’ll admit it: I love NBC’s The Voice. It might be because of the amazing talent that presents itself on stage each week. It might be because of Adam Levine. Either way, if it’s on, I find myself dropping everything and listening. I can’t sing for the life of me, but I can imagine what those contestants must be feeling as they get on stage, hoping that one of the judges will pick their voice.

                As a writer, each time you send out a query, it is your own personal The Voice audition. Readers, agents, and publishers all want the same thing—a book they connect to and can’t put down. Most often, that means a book with voice. You’ve read it on agent page after agent page: “I’m looking for a fresh, unique voice.” “I love a totally original, hilarious voice.” “I want to represent stories that have an emphasis on voice-driven narratives.” “I love strong voices.” All those quotes are from actual agents who are currently seeking clients. The bottom line? It’s all about VOICE!

                What Is Voice?

                Let’s look at four distinctions that can help you figure out what voice is, how to find it, and how to mold it for the purposes of your book.

                Style: To be clear, style and voice are not the same thing, although they often influence each other. Style, as the dictionary puts it, is a “distinctive manner of expression.” It relates more to your words, the syntax you choose and reject, the way you compose your sentences, and the order in which you string the sentences together. Style (and, consequently, voice) can be short and to the point or long and flowing, flowery or blunt, conversational or formal. The audience to which you are writing helps determine the style. A gunslinging Western will likely have a much different style than a YA vampire romance.

                Voice: Voice, on the other hand, is the unique point of view through which you see the world. There are many ways to qualify that sentence—and debate it. Is it your quirky personality inadvertently coming through? Or is it a deliberate lens you apply to a particular story? For example, you, through your narrator, might frame everything from a skeptical or cynical point of view. Or you might see everything through a lens of hopefulness, a viewpoint that will come out in the narration—expressed, of course, in the style (the words and word relationships you choose). There may be a combination of whimsy or humor or stoicism or pragmaticism or a million other permutations that flavor your personal paradigm and the lens your narrator uses. To avoid a semantics debate and focus on what’s useful, know that either view of voice (the deliberate lens or the inadvertent personality leak) will get you where you want—just focus on those unique points of view that create a colorful narrative.

                Character voice vs. author voice: Since voice springs from deep within the author, it will influence, often at a subconscious level, the characters’ voices. That being said, it is important to note that an author’s voice and a character’s voice can be different. Your character does not need to talk like you do. Well-drawn characters will have their own personalities, as well as their own unique worldviews, but your point of view on life will influence how that unique character expresses his or her unique point of view (yes, dizzying)! For instance, no two authors will give the same voice to a thirties-something, dark-haired female accountant who loves sushi.

                The angle: Another way to look at the lens or point of view is to call it an angle. This is easiest to grasp in terms of nonfiction. In nonfiction, the fresh angle or lens through which you look at your material is often more overt than in fiction. If you are writing about the health of the body, for example, are you looking at it with a humorous, entertaining, thought-provoking lens, or with a more scientific approach? Or are you focusing on the facts and the applicable changes one could make to his or her health? Your agenda—your purpose for writing—will largely affect your approach to the material and your choice of style. This combination of style and approach/angle can make for “a new voice.”

                A good fiction example is The Invention of Wings by Sue Monk Kidd. She takes a much-covered topic in fiction—slavery—but examines it through the eyes of early female abolitionists who were also early feminists. The exploration of the connection between abolitionism and feminism (and slavery as it applies to the body and mind) is a fresh angle, and the character POV lens through which the story is told is also unique. Even more exciting, Sue Monk Kidd has a distinctive author voice that permeates all her books, even though the voice of each character is highly differentiated from all others she’s written (I call it her “quiet-power-poetic-wisdom” voice, and it is recognizable through her writing style but also her world views that emerge from each book). Her books would be great to study if you’re trying to understand the ins and outs of voice. Watch for patterns in her authorial “voice” (across her fiction and nonfiction) and then note how she uses fresh angles to create a compelling and original voice for each character and book.

                How Do You Find Your Voice?

                Embrace What Makes You Extraordinary.
                Part of finding your voice entails learning to appreciate your individuality. “We are all, each and every one, unique in the Universe. And that uniqueness makes us valuable” (James A. Owen, Drawing Out the Dragons). James has it right. The more you come to understand that, the closer you get to understanding your voice and how to use it most effectively. There are many talented authors out there, and sometimes, as you read an amazing book or story, you may feel that spark of longing to create something just as moving for someone else. Too often, we think the only way to do that is to sound like the author who inspired us. But as much as an author speaks to your heart and mind and soul, remember: the world already has that voice. What it doesn’t have yet is your voice. Get to know yourself—pay closer attention to what engages your curiosity, intellect, passions, and so on. Have others tell you what interesting, quirky, endearing, and annoying qualities they notice in you. Write down snippets of thought you have about the world around you.

                Discover Your World.
                Your voice is shaped by what you know and what you experience, so get out and learn. I don’t mean that you need to move to Fiji or climb K2 (unless you want to, of course). But visit the world around you, from museums and plays to natural wonders and sports events. Take a class. Try an activity totally outside your comfort zone. If you typically spend the weekend tailgating, attend the opera—and vice versa. If you get the chance, live in another state or country, even for a short while. Volunteer. Travel. Serve. Study. Work. Play. In short, live. Exploring—and challenging—your views and experiences will expand your voice and allow you to tune in to others’ views vicariously, enabling you to write characters with their own unique voices.

                Read.
                Read history, travel, psychology, mythology, economics, business, biography—read anything and everything. Reading not only expands your world but your knowledge about the world. Learn to look at things differently, and then experiment with showing that in your writing. Find authors you love and study them. What do you admire about their voices? Are you drawn to humor? Maybe there is a natural comedian in you just waiting to get out. Do you love the probing, expansive qualities of deep nonfiction? If you love it, it is probably because there is some of it inside of you.

                Write.
                Author Sarah Beard (Porcelain Keys) said, “I think I found my voice about halfway through my second round of revisions on my first novel.” I’ve also heard it said that you have to write four or five novels before you find your voice. And then there are people who just have a natural voice right out of the gate. No matter what camp you fall into, you will never find your voice unless you’re writing. If you’re struggling to find it in your story—or simply to recognize it—try some writing prompts. There are dozens of books and sites out there that will give you ideas for pushing your creativity from its comfort zone. This is the space where insights are most often born. (Do them with a friend and compare how your voices—your unique points of view—differ.)

                Finding your voice might be one of the hardest things you have to do as a writer, but don’t make it harder than it needs to be. The most effective way to kill your voice might be by trying to make it something it isn’t. Be yourself. It’s your voice; set it free!

                Do This Now

                Read what you’ve written and ask, “Does that sound like me?” If there are places where the answer is no, then fix them. Next, pay attention to how you talk. Are there certain things you say that are just you? I can’t hear the words “I know, right?” without thinking of my oldest daughter. If you need to, record yourself. If you still can’t hear your own unique vocabulary, ask others what they hear in your voice.

                Do a free write. One of the best ways to find your voice is by not holding it back. Just let yourself write and see what comes out. Don’t try to correct yourself. Don’t think; just write. A lot of times, your first try just may be your best work.

                Love your story and your subject matter. Chances are, you can tell the authors you gravitate toward really like (or care about) what they’re writing. There is a certain enthusiasm in their writing, and it reflects in every word. This doesn’t mean you have to write only about butterflies and rainbows. Maybe you get a thrill out of scaring your audience. Maybe you love the workings of the human mind. Maybe you’re a history nut. Even hard, scary, painful things in life need to be explored with conviction and passion. Write about what you love, or what you care deeply about, and your inner truth, joy, and purpose—your true voice—will manifest itself.

                (Written by Sabine Berlin with Heidi Brockbank and Angela Eschler. Reposted with permission from Eschler Editing.)