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There's nothing quite like the aroma of freshly brewed coffee to start your day. And what better way to spend those first few morning moments than in quiet reflection with God? In a warm, casual, conversational style, Sarah Arthur takes you on a transformational journey as she explores both the subtle and the startling ways God transforms us through daily spiritual routines such as prayer and living simply. Part personal story and part spiritual search, The One Year Coffee with God will fill your cup with plenty of brew for thought. Softcover from Tyndale House Publisher's Inc. Copyright 2011.
John's second storytelling tactic, besides keeping it to the point (see April 24-25), was that he knew his audience. He knew that people were desperate for the Good News. He
d to cut out what didn't belong, including details about Jesus: appearance, age, mannerisms, and favorite food. I'm sure many biblical scholars since then have wished he hadn't, it John knew his purpose. He wasn't writing for them. He was writing for the lost and the broken and the desperate. His intended readers needed the stories that would lead to their salvation, not to another PhD. If he dropped that focus, if he forgot his audience, then he c;uld easily lead them astray into trivialities, where they'd lose interest or lose their trust in him and go off searching for some other story that would give them a straight answer.
The same is true for us. Who are the people we sit down with at lunch every day? Who observes our actions, words, mannerisms, facial expressions, and habits at work or school? Who serves us coffee, scans our groceries, hauls our garbage? These people are our audience. They are the ones who're reading the books of our lives. We're not "writing" for other Christians. In fact (like Paul at times), we may not particularly care what other believers have to say about us (see Galatians 1:10). Instead, we're writing for the hurting, the lonely, the desperate, the bored. If we have any sense of them as real human beings—if we actually look them in the eyes and listen to what they say—then we begin to have a good handle on what aspect of the story they need to hear. We know our audience.