In November 2011 Dr. Stephen Meyer gave the inaugural lecture for The Centre for Intelligent Design (c4id) before a distinguished group of British political, cultural, and intellectual leaders in London. The theme was on his book, Signature in the Cell: DNA and the Evidence for Intelligent Design (HarperOne, 2009). He explains the problem of the origin of life and shows how the existence of biological information gives scientific evidence for intelligent design (ID).
The last 10 minutes or so contains some Q & A.
The list from Roy Peter Clark’s book, Writing Tools: 50 Essential Strategies for Every Writer:From http://thegospelcoalition.org/blogs/justintaylor/
I. Nuts and Bolts
1. Begin sentences with subjects and verbs.
Make meaning early, then let weaker elements branch to the right.
2. Order words for emphasis.
Place strong words at the beginning and at the end.
3. Activate your verbs.Strong verbs create action, save words, and reveal the players.
4. Be passive-aggressive.
Use passive verbs to showcase the “victim” of action.
5. Watch those adverbs.
Use them to change the meaning of the verb.6. Take it easy on the -ings.II. Special Effects
Prefer the simple present or past.
7. Fear not the long sentence.
Take the reader on a journey of language and meaning.
8. Establish a pattern, then give it a twist.
Build parallel constructions, but cut across the grain.
9. Let punctuation control pace and space.
Learn the rules, but realize you have more options than you think.
10. Cut big, then small.
Prune the big limbs, then shake out the dead leaves.
11. Prefer the simple over the technical.
Use shorter words, sentences, and paragraphs at points of complexity.
12. Give key words their space.
Do not repeat a distinctive word unless you intend a specific effect.
13. Play with words, even in serious stories.
Choose words the average writer avoids but the average reader understands.
14. Get the name of the dog.Dig for the concrete and specific, details that appeal to the senses.III. Blueprints
15. Pay attention to names.
Interesting names attract the writer—and the reader.
16. Seek original images.
Reject cliches and first-level creativity.
17. Riff on the creative language of others.
Make word lists, free-associate, be surprised by language.
18. Set the pace with sentence length.
Vary sentences to influence the reader’s speed.
19. Vary the lengths of paragraphs.
Go short or long — or make a “turn”- to match your intent.
20. Choose the number of elements with a purpose in mind.
One, two, three, or four: Each sends a secret message to the reader.
21. Know when to back off and when to show off.
When the topic is most serious, understate; when least serious, exaggerate.
22. Climb up and down the ladder of abstraction.
Learn when to show, when to tell, and when to do both.
23. Tune your voice.
Read drafts aloud.
24. Work from a plan.
Index the big parts of your work.
25. Learn the difference between reports and stories.
Use one to render information, the other to render experience.
26. Use dialogue as a form of action.
Dialogue advances narrative; quotes delay it.
27. Reveal traits of character.
Show characteristics through scenes, details, and dialogue.28. Put odd and interesting things next to each other.IV. Useful Habits
Help the reader learn from contrast.
29. Foreshadow dramatic events or powerful conclusions.
Plant important clues early.
30. To generate suspense, use internal cliffhangers.
To propel readers, make them wait.
31. Build your work around a key question.
Good stories need an engine, a question the action answers for the reader.
32. Place gold coins along the path.
Reward the reader with high points, especially in the middle.
33. Repeat, repeat, repeat.
Purposeful repetition links the parts.
34. Write from different cinematic angles.
Turn your notebook into a “camera.”
35. Report and write for scenes.
Then align them in a meaningful sequence.
36. Mix narrative modes.
Combine story forms using the “broken line.”
37. In short pieces of writing, don’t waste a syllable.
Shape shorter works with wit and polish.
38. Prefer archetypes to stereotypes.
Use subtle symbols, not crashing cymbals.
39. Write toward an ending.
Help readers close the circle of meaning.
40. Draft a mission statement for your work.
To sharpen your learning, write about your writing.
41. Turn procrastination into rehearsal.
Plan and write it first in your head.
42. Do your homework well in advance.
Prepare for the expected — and unexpected.
43. Read for both form and content.
Examine the machinery beneath the text.
44. Save string.
For big projects, save scraps others would toss.
45. Break long projects into parts.
Then assemble the pieces into something whole.
46. Take interest in all crafts that support your work.
To do your best, help others do their best.
47. Recruit your own support group.
Create a corps of helpers for feedback.
48. Limit self-criticism in early drafts.
Turn it loose during revision.
49. Learn from your critics.
Tolerate even unreasonable criticism.
50. Own the tools of your craft.
Build a writing workbench to store your tools.
Ralph Wood, author of The Gospel According to Tolkien: Visions of the Kingdom in Middle-earth, identifies the three corrupting features associated with the ring:
(1) Power to overcome death—thus granting unending physical life.Perhaps the chief idolatry of our time, the worship of health and longevity, whereas the naturally immortal elves, while understanding the full cosmic process, also envy men for their great blessing of death.(2) Power to become invisible—thus granting magical disappearance.Hence the ability to acquire goods without effort, whereas everything worth having is meant to be acquired slowly, not quickly and easily. Yet evil has a shadowy, unreal existence, lacking any creative power, able only to pervert our virtues and to destroy the good. It has no imaginative sympathy, only the flat, unpenetrating eye of Sauron.(3) Power to coerce the will of others—making evil horribly addictive because it is not merely seductive but also bullying—as when Frodo’s will is finally overwhelmed in the end.This is exactly the doctrine of Original Sin as a one-way street that cannot be cured by our own effort, but that can be healed only by a transcendent and redemptive power beyond it.For those who are interested, the latest Christian contribution to the literature of Tolkieniana is Louis Markos’ On the Shoulders of Hobbits: The Road to Virtue with Tolkien and Lewis.
