MOMENTS OF MEDITATION: METHODS OF DEVELOPMENT
A moment of meditation is a period of time in the sermon (usually from one to five
minutes) during which the preacher focuses upon one particular idea and develops that
idea for the hearers so that they understand it (head) and care about it (heart).
This moment of meditation may be deductive (where the preacher states the idea
and then develops it) or inductive (where the preacher develops the idea and then states
it). In a moment of meditation, the preacher will do two things: (1) he will state a single
idea for the hearers, usually in a short and memorable way; and (2) he will develop that
idea for the hearers using one or more of the following methods of development.
For those beginning to use these methods of development, they may be hard to
differentiate. The more frequently and intentionally the preacher uses them, however, the
more clearly he can distinguish between them and the more clearly he can distinguish
between them the more variety he has for touching the hearts and minds of his hearers.
A. Narration: this method develops an idea or experience by offering the hearers a
story that places that idea or experience into action. In narration, there will usually be
temporal movement for the hearers and a conflict that is brought through climax to
resolution. The climax of the story should relate to the main idea of the rhetorical unit, so
that the dynamics of narrative reinforce the idea. Also, the preacher needs to manage the
details of the story for the sake of the meaning. Concrete details are used carefully so
that the hearers are led to the main idea rather than distracted from the focus that is being
developed.
Sometimes, the preacher can use an epic form in telling the story. In an epic
form, the preacher begins at the middle of the story (right before the climax) and then
takes the hearers back to the beginning, only to return to the place where he began the
telling so that he can bring the story to a dramatic, climactic close. This method
reinforces the climax for the hearers by starting at the moment of climactic suspense and
then deepening the crisis before bringing it to a resolution.
B. Character: this method develops an idea or experience by viewing it from the stance
of a particular individual. The hearers are able to enter into the life experience of
someone and view the idea or experience from his or her perspective. Development by
character offers hearers a living witness of the main idea and a sense of how it is
encountered in real life. The value of this method is that it personalizes the idea and,
through hearer empathy, generates a personal association with the idea or experience.
Character can often be confused with narrative. In both methods of development
a events usually happen. With narrative, however, the focus is upon the events
themselves. With character, the focus is upon how a person interacts with, responds to,
or processes those events. Often with character, the main idea will be connected to a
change in the person (the character) that happens when that person witnesses an event.
For example, narrative would focus upon the event of our Lord’s appearance to Saul on
the Damascus road. Character would focus upon that event from Saul’s perspective. It
would develop Saul’s internal transformation that occurred when the Lord appeared to
him on the Damascus road.
B. Serial Depiction: this method develops an idea or experience by offering the hearers
a series of examples that clarify and reinforce the idea through repetition. These
examples are usually more than a single sentence but they do not last as long as a fuller
narrative. In serial depiction, the preacher has the opportunity to cover a wide range of
experiences, demonstrating how this focus is apparent in a variety of situations or
contexts. Often these examples are connected by a simple refrain. The preacher orders
these experiences carefully, so that there is some development, logical (e.g., ordering
from personal to communal) or experiential (e.g., climactic ordering), in the sequence of
examples and so that no one example overpowers all of the others.
C. Image: this method develops an idea or experience by associating it with a central
image for contemplation. In developing the image, the preacher offers concrete details to
enable visualization and uses poetic language to evoke significance or meaning. The goal
is not that the hearers be able to reproduce the entire image but rather that they interact
with the image in a way that leads to the meaning the preacher seeks to convey.
Often a story lies behind the image. In development, however, the image remains
central. The preacher freezes that moment in time and focuses upon the presence of the
image. By viewing the image from various perspectives (e.g., the artist who created the
image, a viewer who sees the image, a person within the image, the place that surrounds
the image), the preacher can creatively appropriate the image and use it to communicate a
specific idea or experience.
E. Dialogue: this method develops an idea or experience by placing it within a
conversation. The conversation may be spoken by the preacher and overheard by the
people or be between the preacher and the congregation (for example, in a sermon on
love for one another, the preacher could interview a member who recently participated in
a servant event or, in a sermon on the fifth petition, the preacher could ask congregational
members to name how the world encourages us to hold on to the sins that others commit
against us) or be between members of the congregation and then summarized by the
preacher (for example, in a sermon on prayer, the preacher could encourage members to
share prayer petitions with one another). When spoken by the preacher, this dialog often
places into conversational speech the anticipated reactions of one’s hearers and takes the
form of disagreement moving toward greater clarity (e.g., a debate or series of questions
and answers) or agreement moving toward deeper understanding (e.g., a collaborative
endeavor of mutual discovery wherein each speaker makes significant contributions to
the dialogue). The entire rhetorical unit does not need to be a sustained dialog. Often,
the preacher conveys the most important point in a moment of conversation.
F. Enactment: this method develops an idea or experience through the dramatization of
that idea in actual experience for or with the hearers. The preacher initiates an experience
of the idea and then links that experience with a clear statement of the idea. By
experiencing the idea, the hearers become witnesses of that idea as an event in their lives.
For example, a preacher may engage the hearers in an experience of rejoicing in the Lord
by having them sing a verse from a hymn. A preacher may enact the power of prayer by
going to an individual in the congregation and praying for that individual by name.
When working with dramatization, the preacher needs to be aware of both how
clearly the experience will communicate the idea and how the hearers will respond to the
dramatic experience. Some experiences may not communicate an idea clearly because
the experience, itself, is hard to interpret and other experiences, while easier to interpret,
don’t always work every time they are performed (as any couple who has struggled
lighting the unity candle at a wedding can attest). In addition, the introduction of a
dramatic experience into a sermon can challenge congregational understandings of
preaching and hence need to be used with care and appropriate contextualization.
F. Explanation: this method develops an idea or experience through the use of logical
explanation. Using reason, the preacher offers the hearers a series of statements that hold
together by the logic of definition, classification, cause-effect, comparison/contrast,
process, problem-solution, analogy, or example and explanation.