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The preeminent example of monotheism, the God of the Hebrew Bible, is the end product of a long process. The world from which this literature emerged was polytheistic. The nature and arrangement of the literature diminishes polytheistic realities and enhances the effort to portray a single divine being. The development of this divine character through the course of a sustained narrative with a sequential plot aided the move toward monotheism by allowing for the placement of diverse, even conflicting, portrayals of the deity at distant points along the plot line. Through the sequence of events the divine character becomes more withdrawn from the sphere of human activity, more aged in appearance and behavior, and increasingly disembodied. All these characteristics lend themselves to the presentation of disparate narrative portrayals as a singular subject in this Element.
William P. Brown explores the pedagogy of the wisdom literature. He argues that wisdom is dynamic as it is imparted between individuals, and that it finds its telos in human character development. This dynamic pedagogy is versatile. Sometimes (especially Proverbs 1–9), it manifests itself in rebuke, pronounced hierarchically in the matrix of patriarchal authority. Rebuke, though, can also be dialogic; in Proverbs, the wise also impart it amongst themselves. Both models of rebuke are evident in Job, where Job and his friends reciprocally rebuke each other, and God hierarchically rebukes Job. God’s rebuke, though, is not simply belittling, rather eliciting wonder through the pedagogy of the Master Poet. These texts also teach through testimony – Qohelet invokes his personal observations and investigations, and Wisdom herself testifies to her role in creation (Proverbs 8). Here, Wisdom comes alongside readers as a playing child, and welcomes them as a gracious host. Finally, proverbs have pedagogical power, revelling in comparison, paradox, irony, and metaphor.
Character and plot are inextricably intertwined: characters make plot. Methods of introducing character. Investigating the respective usefulness of ‘showing’ and ‘telling’. A well-drawn character accumulates in the reader’s mind rather than springing fully fledged from the first page. How ‘showing’ character aids the creative process. Individualising characters. A character wants something; motive drives action and action drives plot. The relationship between narrative voice and character. The problems of too many characters. Managing minor characters. Believable characters are not always consistent; characters are fluid and flawed. Over-planning characters can be dangerous, limiting their potential and removing their ability to evolve.
‘For our characters to approach the texture of ""real"" people the writer, as well as the reader, needs to be curious about them, and that is impossible if we have removed their capacity to surprise us.’
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