One of the major differences between Christian and non-Christian books is that Christian books are measured against an absolute standard of truth. Put another way, all Christian books are derivative of the Bible in one way or another, or at least they should be. We are people of the Book, so biblical accuracy matters.

Christian readers expect biblical accuracy, and if they are not confident in an author’s orthodoxy, they will not buy the book. In many cases, they may not even pick it up. Just a few days ago, I was interested in a book and found myself researching the author’s beliefs before deciding whether to purchase it.

So, what does it mean to write a biblically accurate book? How can your writing reflect biblical truth more faithfully?

I asked Catherine DeVries. She is the publisher at Kregel Publications. She has nearly 30 years of experience in Christian publishing and a proven track record of producing bestselling Bibles, books, and ministry resources for all ages.

What does it mean for a book to be biblically accurate?

Catherine: One of my favorite verses from Scripture really guides how I think about this. It comes from Titus 1:9, which says, “Have a strong belief in the trustworthy message you were taught; then you will be able to encourage others with wholesome teaching.”

It all starts with God’s Word, and that can feel daunting, especially at the publishing level. In my experience, biblical accuracy begins with a few basic principles that are sometimes overlooked, whether unintentionally or intentionally.

Theological Accuracy is Spiritual Responsibility

First, we have a spiritual responsibility to be theologically accurate. When we make things public as publishers, we want to reflect the truth of God’s Word. We must ensure that we are not misleading readers by being careless or sloppy in how we create and publish books.

Theological Accuracy Establishes Credibility

Second, theological accuracy establishes credibility and trust. Readers who have a biblical foundation will notice when something is not quite right. When they do, they begin to wonder what else might be wrong. They ask themselves whether the book was reviewed and whether they can trust the author or the publisher. Accuracy builds confidence.

Theological Accuracy Builds a Bridge to the Bible

Third, books should serve as bridges to the Bible. Bible reading has declined year after year, even though people still long for truth and hope. For someone who has never encountered the Bible, it can feel intimidating. The closest they may come is a fiction or nonfiction book, or even a children’s book read to a child or grandchild.

Even in fiction, reflecting biblical truth matters because it can lead readers back to Scripture. A reader might think, “Did Jesus really say that?” and then look it up, only to find it accurately reflected in the Bible. That is what I mean by books as bridges to the Bible.

Theological Accuracy Requires Diligence

There are also practical guidelines when crafting a book. At Kregel, we work with scholars and theologians, but we also work with children’s authors. When we encounter a point that requires deeper research, we take that responsibility seriously. Errors often creep in when assumptions are made.

Diligence matters. We cannot rely solely on instinct or memory and say, “Everyone knows that verse,” without checking. Practical discipline undergirds all of these principles.

How can books lead readers back to Scripture?

Thomas: I love that idea of books as bridges to the Bible. Scripture addresses far more issues than people often realize. Take the question, “Why do bad things happen to good people?” There is an entire book of the Bible devoted to that question, the book of Job, and it is excellent.

People have wrestled with it, found encouragement in it, and pondered it for thousands of years. If you are struggling with that question, it is worth going back and reading Job again.

How can authors avoid theological sloppiness?

Thomas: Most authors are not trying to distort the Bible. Very few wake up thinking, “I want to write a biblically inaccurate book.” I have encountered a few who were openly heretical, but they are the exception.

Most errors happen by accident. So how do authors avoid that sloppiness? How do they write with rigor without producing something that feels like a dense theological tome no one wants to read?

Catherine: The first step is not making assumptions. Research is essential, just as it is with any excellent book. Even in fiction, accuracy matters. If a place, culture, or point of view is not represented accurately, it will not ring true.

The same applies theologically. If you are exploring a theme such as darkness to light, it can be helpful to look up references to light in Scripture using a concordance. That context can shape how the theme is framed in a biblical way.

Research does not mean wading through scholarly commentaries. A concordance is often enough. It also helps prevent taking verses out of context. Sometimes a passage appears to support a point, but when removed from its context, it no longer represents the true message of Scripture.

How can writers avoid proof texting?

Thomas: That practice is called “proof texting,” when you pull out a single verse to “prove” your point and say, “See? See?” It is tempting because it makes your argument easier, but context usually complicates things.

How do you make an argument without resorting to proof texting?

Catherine: One way is to follow the pattern Jesus set. When something mattered, he repeated it. Repetition reveals themes, and themes show what Scripture emphasizes.

If only one passage addresses an issue and it is not mentioned elsewhere, it may not be strong enough to support the entire premise of a book. Looking for repeated themes and patterns helps us see how an idea fits into the overarching story of God’s Word.

Another important approach is to begin neutrally. That does not mean abandoning your convictions, but it does mean seeking first to understand what Scripture actually says. As Stephen Covey famously put it, “Seek first to understand.” Study Scripture to learn from it, not merely to validate your existing viewpoint.

How should authors navigate denominational differences?

Thomas: While much of the Bible is not controversial, some denominational interpretations differ. I love C.S. Lewis’s Mere Christianity because it highlights how much Christians agree on across denominations and across time.

I have a friend who listens to very old sermons, some dating back more than a thousand years. When you hear a bishop preaching in the fourth century, the message is surprisingly familiar.

That said, churches can still be very different. Some differences are cultural or stylistic, but others are theological. How do authors and publishers navigate that?

Catherine: At Kregel, we are not denominationally affiliated, and we are independently owned. That gives us freedom to reflect Scripture as faithfully as possible.

Other publishers may represent a specific denomination, and that naturally shapes their perspective. During my years at Zondervan, which is also non-denominational, we often addressed differences directly. For example, on the topic of baptism, we would acknowledge multiple views in the study notes. We would say, “Some believe baptism means this, while others believe it means that.”

The goal was to inform readers without dictating how they must interpret Scripture. Denominational nuances tend to appear more strongly in certain types of books, such as commentaries, rather than in the biblical text itself.

Thomas: You’re referring to the commentary that appears directly beneath Scripture. That can carry an undeserved weight simply because of its proximity to the text.

Anyone can print a Bible and add commentary at the bottom. That practice has existed for a long time and can be helpful, but most of our listeners are not writing commentaries. They are writing fiction or nonfiction, often from within a particular church background.

Every church has its own distinctives, and C.S. Lewis argued that this is where life happens. You cannot live in the hallways of Mere Christianity. The hallway represents what we all share, but the rooms are where real life takes place, and eventually, you have to choose a room.

Catherine: The notes alongside Scripture are a weighted responsibility. At the same time, consider a student who may never have found a passage about baptism without those notes. That responsibility again falls to the publisher, earning the reader’s trust through careful scholarship and, especially for non-denominational publishers, presenting multiple viewpoints. That work can be done well, and it can be done poorly.

If we are striving for accuracy, part of our responsibility is helping readers see where Scripture speaks into these issues.

Should authors emphasize or temper denominational distinctives?

Thomas: Are you writing primarily to other Bible church people? Or do you try to temper your distinctives? Does the approach depend on the book?

Catherine: When an author writes from a particular theological or denominational point of view, it is fair to describe that perspective in a way that resonates with others in the same faith community. At the same time, it should not be so isolating that readers from outside that background feel excluded.

I often think of this personally. I am Dutch and I live in Grand Rapids where there are many Dutch jokes and cultural references. Yet I grew up in Wisconsin, where there was no Dutch community at all.

When I attended Calvin College and encountered all those references, I felt like an outsider, even though I was fully Dutch. That experience shaped how I think about inclusion.

As authors, we need to ask whether we are inviting readers into the journey. Are we giving them enough context to understand where we are coming from, or are we being exclusive? This touches broader cultural issues such as civil unrest, diversity, and appreciation of differing viewpoints.

While that may not directly relate to theological accuracy, it does relate to earning the reader’s trust and helping them understand where the author is leading them.

How should authors decide which issues are worth addressing?

Thomas: One way to measure this is to ask whether a particular denominational distinctive is worth repelling readers over. Sometimes an author is writing primarily about one topic and then makes a throwaway comment on another issue that is unrelated. That kind of aside can create unnecessary drama and mental distraction, pulling readers out of the book as they debate the point internally instead of continuing to read.

At other times, an author may decide the issue is important enough to risk losing readers. That is a valid choice. The key is to pick your battles and not fight every one of them. You can always write other books. You are not limited to saying everything in a single volume.

How should fiction writers think about biblical accuracy?

Thomas: Some of our listeners are writing fiction, and some assume that because they are creating their own world and characters, biblical accuracy no longer matters. They may think they have more freedom because the story is set in space or in a world without Earth. What advice would you give fiction writers about biblical accuracy?

Catherine: For some readers, a novel may be their only point of contact with a biblical worldview. Even if a book is not overtly Christian, an author may still want to convey something subtle, perhaps a theme of hope, that invites curiosity without turning the story into a theological dissertation.

Think about popular science fiction franchises. Star Trek explores and welcomes different cultures, planets, and communities. Star Wars, by contrast, presents a clear moral framework of good versus evil. Both communicate worldview through story rather than explanation.

For a Christian writer, the question becomes what underlying theme you want to convey. Non-believers often ask Christians, “What is it about you?” They notice an inner joy or hope that persists despite hardship. Whether overt or subtle, that sense of hope can be communicated through story.

In some cases, the goal may simply be to write a good, clean read. Some Christian publishers pursue that approach to reach a broader general market. My personal view is that if we are believers who carry a message of hope, it is natural to want that to show through our writing. That does not mean being heavy-handed or preachy. It means crafting stories well enough to invite readers to ponder deeper truths.

How can writers avoid being preachy?

Thomas: You are not saying that every novel needs a sinner’s prayer at the end. In Christian circles, we usually say “preachy” instead of the more pretentious word “didactic.” Heavy-handed moral instruction tends to backfire. We dislike it when people we disagree with do it, and Hollywood often does this by forcing unrelated moral messages into stories.

The same problem can occur in Christian fiction when the story stops for what feels like a sermon. That is why craft matters so much. It takes skill to weave meaning into the narrative so that it feels organic rather than intrusive.

This problem is especially common in children’s books. Many are overly preachy, and children can sense it immediately. My two-year-old is read to constantly, and she avoids preachy books. But books that integrate the message naturally, she wants to hear again and again. How do you approach children’s books as a publisher to ensure they are biblical without being heavy-handed?

Catherine: I often think back to William Zinsser’s On Writing Well, where he emphasizes, “Show, don’t tell.” Story has power precisely because it shows possibilities rather than explaining them. That is often the difference between being preachy and being compelling.

A well-written story draws readers into a character’s struggle. Before they realize it, they are considering a new perspective. Sometimes that inspires growth, and sometimes it provokes discomfort. Both responses can be part of meaningful learning.

Why does accuracy matter so much in children’s books?

Catherine: Children’s publishing has always been close to my heart, and the responsibility there is especially high. In faith-based children’s books, we are often introducing children to God for the first time. What they encounter in those books stays with them. If something is misleading or inaccurate, they may later have to unlearn it, which can be confusing and painful.

Thomas: It also undermines credibility. As a parent, I have become very aware of this. For example, we have chosen not to lie to our children about Santa Claus because we do not want to undermine trust over trivial things.

I remember the first time I read the Bible seriously and realized the biblical stories were far more intense and engaging than many children’s versions. In earlier eras, children’s stories were not censored. There were real consequences.

When we sanitize stories, we risk raising children who are unprepared to face real challenges. If they cannot face difficulty in fiction, how will they face it in real life?

Catherine: That is an important point. Some argue that scenes like the crucifixion are too disturbing for children, but without understanding Jesus’ suffering, how can they grasp the joy and freedom that come from His sacrifice? We need to tell the full arc of the story in developmentally appropriate ways.

Children encounter death and loss in their lives. Sheltering them entirely does not prepare them to process those experiences.

On a lighter note, consider how often the nativity story is depicted inaccurately in children’s books. The Wise Men are usually shown at the manger, even though Scripture tells us they arrived much later. That is rarely intentional deception. It is often simple sloppiness.

Visual accuracy matters just as much as textual accuracy, especially for children. Images teach powerfully. In some projects, I have requested theological reviews of illustrations. In one case, an illustration of Zechariah omitted the rope around his ankle while he was in the Holy of Holies. That detail mattered. A child might ask why the rope is there, opening the door to a deeper understanding of Scripture and its context.

Thomas: It makes readers curious, which leads to questions and discussion. A book that does this exceptionally well is Manga Messiah, which is a retelling of the Gospels in manga form, the Japanese illustrated style. You can tell the creators either had theologians advising them or were deeply grounded Christians themselves. Details such as the Wise Men are handled accurately, The book is highly illustrated and aimed at an older audience. It is not for small children.

This connects to what you said earlier about sanitizing the Bible. When we sanitize Scripture, we implicitly place ourselves in judgment over it. The Bible is not a fairy tale that can be freely adapted to make it more comfortable. Scripture is true; adapting it requires reverence for that truth.

Standing in a position that assumes we can improve on God by removing uncomfortable elements, such as violence or suffering, is a dangerous posture. That is not a place I am willing to stand.

Why is children’s publishing especially difficult and important?

Catherine: Many people assume children’s publishing is easy and lighthearted, but I think it is more like poetry. It looks simple, yet it is extremely difficult to do well. Accuracy matters more than ever. A picture truly does communicate a thousand words, especially when it comes to how children understand God.

At the same time, story is essential in children’s books. One recent example is I Love You To The Stars: When Grandma Forgets, Love Remembers. The story is told from a grandson’s point of view as he experiences his grandmother’s memory loss. She forgets familiar things, puts her shoes in the bathtub, and leaves her purse in the pantry. Yet he remembers her constant expression of love.

At the end of the story, when she moves into supportive living, he speaks those words of love back to her. The book then gently invites discussion with questions such as whether the child knows someone who forgets often, and finally, how God feels about them. Does God ever forget who you are? The truth is presented tenderly through real-life experience, without tying everything up neatly. It is sad, and it often brings tears. That is okay. Life is sad at times. Anyone who tells you otherwise is selling something.

Life is real, and we need to offer what is real to children so they can understand where God fits into it. He is the beginning and the end, and everything in between. Children’s books should show how deep, high, and wide the love of God truly is.

Why does craft matter so much for writers?

Thomas: I love that.

Kathryn is in the room where publishing decisions are made, deciding which books move forward and which do not. You probably noticed how often she returned to the idea of showing rather than telling. For those of you who are not yet published, reading these books and listening to these episodes will significantly strengthen your craft.

We want to see books that do this well, not books that barely succeed, but books that truly shine. Mastery of craft allows authors to focus on strategy rather than mechanics. You cannot win at chess if you are still trying to remember how the knight moves. That level of mastery takes practice. Listening to podcasts, reading books, and writing consistently are all part of that process.

Where can writers learn more about Kregel and your work?

Catherine: I would encourage people to visit Kregel’s website at www.kregel.com. You can learn about our mission, see new products, browse catalogs, and stay informed about what we are publishing. I also attend many writers conferences and industry events, both in person and virtually, and I enjoy connecting with writers there.

Publishing is a partnership. As you craft your work, do your own research, but also invite others into the process. Join a writers group or a critique group. If you know someone with theological training, perhaps a pastor or church leader, ask them to read your work and give feedback. Do not wait until submission to address these issues. That only strengthens your proposal.

You will learn a great deal through that process, and you can do it on your own terms. Writing is an expression of who you are. It is purposeful, deeply satisfying, and honoring to the Lord. Wherever you are on that journey, I want to encourage you.

Thomas: You may be surprised at how willing your pastor is to read your book and offer feedback. My pastor read my book and gave thoughtful input, and it mattered deeply to me that the theological elements aligned with the teaching of my local church. He pointed out areas that needed revision, and in one case told me plainly that a passage did not work. He was right, and I am grateful that I listened.

Doing this work in community requires humility. It means resisting the impulse to say, “I have it all figured out,” or assuming a publisher will fix theological issues later. Not all publishers prioritize these concerns equally. Your literary agent can often help you navigate that landscape, but it is difficult to discern otherwise. Taking responsibility early makes your work stronger and more faithful.

Links:

• Kregel Publications
• On Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction (Affiliate Link)
• Show, Don’t Tell With Tim Shoemaker
• How to Get Out of the Slush Pile With Deborah Raney

Related Episodes

• Writing Fiction With a Powerful Christian Message Without Getting Preachy
• The Key Ingredient for Timeless Christian Storytelling: Morality
• How to Write Books Boys Will Love With Tim Shoemaker
• World-Building and Worldview: How Good Theology Can Make Your Book More Interesting With L.G. (Laura) McCary 

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