| This is a common worry among conscience-sensitive Christians: we don't want our writing's imagery to cause any reader to stumble, Christian or non-Christian. Yet we should strive to strike a note of realism. Cursing, nakedness, and other topics should be approached with utmost delicacy. We should write as though Christ would enjoy reading it.
 Look at cursing, for instance. Now and then a nasty character pops up who likes to have a good swear now and then. Should we actually write the cuss words, or better yet, should we take God's name in vain?
 Being fantasy writers, we can easily dodge this issue by inventing our own curse words (Homer invented "You sack of wine!" for The Iliad). But even if your writing isn't fantasy, you don't have to actually write those dirty lil' four-letter words. Instead, just say "The man went into a leaping rant, cursing everything in view and hopin' the roses bled on their own thorns." You don't have to actually write the curse-words themselves.
 
 The same rule applies with nakedness, sex, or any other sensual scenario. You don't have to describe the nakedness. In fact, you don't even have to say the word "naked." Use softer words like "disrobed" or implying (not suggestive!) phrases like "he set his clothes in a neat pile then scurried into the pond."
 If your story actually requires something truly graphic, like a sex scene, there's no reason to mention it. Let's say you're writing a story about a girl who gets pregnant by accident. You don't have to actually write the scene itself. Just write something like "Their relationship was always complicated, and when she told him she was expecting, it became too complex for him to bear." Even in this case, I try to avoid words like "pregnant," and instead use words like "expecting" or "with child."
 
 In my book (a fantasy), there is a story about a young girl of noble birth who is betrothed to a noble prince. The noble prince is young and mean. He always set pranks on her and ruined her games. When his father informs him of the arranged marriage, the prince runs away from home and doesn't return for ten years. The noble girl was sweet-natured and had hardly a cruel thought, but she suspected the prince had died and was secretly (and somewhat guiltily) relieved she was spared from such a horrible marriage. However, ten years later, the prince returns a man, and according to the laws of the kingdom, the marriage document between them was revived, and they had to wed. That honeymoon night, the noble girl is weeping in bed, awaiting her new husband. She tries to pretend she's asleep when he finally enters, but her sobbing was too obvious. Terrified, she felt the mattress shift as he crawled in beside her, leans over her, kisses her on the cheek, then turns over and goes to sleep. Surprised, but relieved and grateful, she says nothing. This continues for a week. Each time she pretends to be asleep, and silently he kisses her on the cheek and falls asleep. Finally, on the seventh day, she awaits him sitting upright. He enters, and sits beside her, also upright. The two start talking. A deep, personal, and plain talk -- their fears and thoughts -- that night they bare their hearts to each other and fall in love. The next chapter is some weeks later, and the noble girl is expecting.
 
 The sudden character transformation in the noble prince resulted from his decade-long travels, during which he became my metaphoric rendition of a Christian.
 
 I was debating whether or not to put this in my book. However, I wanted to speak to a sex-crazed culture, and this scene reveals that there is a form of love which must come prior to sex. A man and woman must be united in heart before they are in body. And what I just wrote wasn't graphic. Very few would stumble because of it.
 
 It's a delicate issue and certainly takes some mastery of the English language to play out correctly. But that tone of reality is important when speaking out to the real world.
 
 Deo Volente,
 Pavalini
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 He is worthy of all praise, and my praise is unworthy.
 
 
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