The word fiction comes from a Latin verb meaning "to shape, fashion, feign." That is what fiction does, and in many ways it is what faith does too. You fashion your story, as you fashion your faith, out of the great hodgepodge of your life-the things that have happened to you and the things you have dreamed of happening. They are the raw material of both. Then, if you're a writer like me, you try less to impose a shape on the hodgepodge than to see what shape emerges from it, is hidden in it. You try to sense what direction it is moving in. You listen to it. You avoid forcing your characters to march too steadily to the drumbeat of your artistic purpose, but leave them some measure of real freedom to be themselves. If minor characters show signs of becoming major characters, you at least give them a shot at it because in the world of fiction it may take many pages before you find out who the major characters really are just as in the real world it may take you many years to find out that the stranger you talked to for half an hour once in a railway station may have done more to point you to where your true homeland lies than your closest friend or your psychiatrist.
As a writer I use such craft as I have at my command, of course. I figure out what scenes to put in and, just as important, what scenes to leave out. I decide when to use dialogue and spend hours trying to make it sound like human beings talking to each other instead of just me talking to myself. I labor to find the right tone of voice to tell my story in, which is to say the right style, ultimately the right word, which is the most demanding part of it all--sentence after sentence, page after page, looking for the word that has freshness and power and life in it. But I try not to let my own voice be the dominant one. The limitation of the great stylists, of course-of a James, say, or a Hemingway--is that it is their voices you remember long after you have forgotten the voices of any of their characters. "Be still, and know that I am God," is the advice of the psalmist (46:10), and I've always taken it to be good literary advice too. Be still the way Tolstoy is still, or Anthony Trollope is still, so your characters can speak for themselves and come alive in their own way.