Now the second common characteristic of fiction follows from this, and it is that fiction is presented in such a way that the reader has the sense that it is unfolding around him. This doesn't mean he has to identify himself with the character or feel compassion for the character or anything like that. It just means that fiction has to be largely presented rather than reported. Another way to say it is that though fiction is a narrative art, it relies heavily on the element of drama.

He has the mistaken notion that a concern with grace is a concern with exalted human behavior, that it is a pretentious concern. It is, however, simply a concern with the human reaction to that which, instant by instant, gives life to the soul. It is a concern with a realization that breeds charity and with the charity that breeds action. Often the nature of grace can be made plain only by describing its absence.

It's always wrong of course to say that you can't do this or you can't do that in fiction. You can do anything you can get away with, but nobody has ever gotten away with much.

The writer who position is Christian, and probably also the writer whose position is not, will begin to wonder at this point if there could not be some ugly correlation between our unparalleled prosperity and the stridency of these demands for a literature that shows us the joy of life. He may at least be permitted to ask if these screams for joy would be quite so piercing if joy were really more abundant in our prosperous society.

You may ask, why not simply call this literature Christian? Unfortunately, the word Christian is no longer reliable. It has come to mean anyone with a golden heart. And a golden heart would be a positive interference in the writing of fiction.

Fiction may deal with faith implicitly but explicitly it deals only with faith-in-a-person, or persons. What must be unquestionable is what is implicitly implied as the author’s attitude, and to do this the writer has to succeed in making the divinity of Christ seem consistent with the structure of all reality. This has to be got across implicitly in spite of a world that doesn’t feel it, in spite of characters who don’t live it. — Flannery O’Connor, The Habit of Being

Unfortunately, to try to disconnect faith from vision is to do violence to the whole personality, and the whole personality participates in the act of writing. The tensions of being a Catholic novelist are probably never balanced for the writer until the Church becomes so much a part of his personality that he can forget about her—in the same sense that when he writes, he forgets about himself.