Though every sermon necessarily needs a beginning, it does not necessarily need a formal introduction. Though it has to begin somewhere, there is no rule that it must begin with some kind of story or illustration. A preacher can jump straight into his text if he so desires. Some do.
However, many preachers, and perhaps even most, do choose to begin with a kind of “bridge” from the service to the sermon—a way of capturing the listeners’ attention and drawing them into the exposition. In this way, the introduction serves as a kind of hook to intrigue a congregation and motivate them to listen. H.B. Charles provides helpful guidance on doing this well:
Don’t start every sermon the same way. Be creative. Use different doors to get into the house. Tell a story. Raise a question. State a problem. Use a strong quote. Describe the background of the text. Do an object lesson. Try multimedia. Mix it up. Practice diversity. Change the way you come at them, especially if you preach to the same congregation each week. Practicing variety in the introduction is a simple but effective way to stay fresh in the pulpit.
In my experience, there are several “levels” of sermon introduction, each one more difficult to prepare, yet also more rewarding, than the one before.
The first level of sermon introduction is the one that simply begins the sermon and does not come up again. It may be a story from current events or a fable from history. It may be a poem or an experience from the preacher’s life. It helps ease the congregation from the song they have just sung into listening to a 40-minute exposition. The best of these introduces a note of tension that needs to be resolved or a question that needs to be answered. It is not trite, crass, or boring, but serious, appropriate, and interesting. The point of the introduction harmonizes with the point of the sermon which, in turn, harmonizes with the point of the text.
The second level of sermon introduction is the one that begins the sermon and then appears again in the conclusion. It introduces a note of tension that needs to be resolved or a question that needs to be answered and then circles back in the conclusion to explain how this has happened. This usually requires a stronger theme such as a particularly poignant illustration or an especially interesting anecdote. It might be a song whose first stanza comes in the introduction and whose final stanza comes in the conclusion. It might be a story whose first part is told at the beginning of the sermon and whose conclusion is told at the end. If the first level of introduction is a bridge into the sermon, the second level is a bridge into the sermon and then back out. It is a kind of bookend that resolves whatever theme, question, or tension was introduced at the beginning.
The third level of introduction is the one that not only begins and ends a sermon, but also appears throughout. It frames the sermon but also illustrates it in an ongoing way, providing a continual theme that engages the listener. Only the best illustration, anecdote, song, or motif is capable of doing this. And even then there is the danger that such a strong illustration can threaten to actually become the point of the sermon, displacing the point of the text that is being preached. If the first kind of introduction serves as a bridge in and the second serves as a bridge in and out, this one also provides the waypoints along the way. It is a bridge in, out, and through, if you will.
I believe H.B. Charles is right when he says, “The takeoff is arguably the most important part of the flight. Sprinters work to get a strong jump from the blocks to win the race. And the introduction is key to preaching a strong message.” While every introduction serves a function, some are merely functional. They are serviceable but not particularly skillful and they are practical but not especially memorable. A good introduction often requires extensive thought, research, and prayer, yet such labor is handsomely rewarded when that introduction blesses the listeners and serves them well as they listen to the preaching of God’s Word.
(Parenthetically, I am increasingly of the perspective that references to popular culture such as shows and movies are most often unhelpful and tend to fall flat. I say that because I don’t think there is enough shared culture now that one film or one show will be meaningful to enough people in the church that it can serve as a helpful illustration (unless it is given a lot of explanation). I don’t think we can assume people have seen most films and therefore can’t assume that people have any knowledge of them. Neither are there very many of them that a pastor can quote or refer to without offending at least one listener who deems it unsuitable for Christian viewing. Hence, other means of illustration tend to be superior.)
