Hello, all, and welcome to another update on the progress of Devilspawn! I am roughly three-quarters or so done with my most recent draft of the first book of Devilspawn, A Demon in the Night, and hope to be done with said draft soon so I can move into a round of Beta Reading. That said, if you would like to act as a beta reader, go ahead and visit our Facebook page to leave a like, comment, or share.
At present, I am at a roadblock and am awaiting feedback from my Alpha Readers for the next scene I intend on writing. This is because the scene addresses several real-world issues and I would like for it to be written in a concise and respectable manner.
That said, I am very happy with the progress I have made and am proud of the draft thus far. I will, of course, need to go back and make some edits, but I don’t think I should need to make any major reworks to the story anymore (at least for ADitN)- I’ve felt the need to make many such reworks between the first draft and now.
One thing I’ve noticed as I’ve been writing this draft is a shift in the way that I approach certain themes. Before, I approached them from a perspective of objective morality – the book is written from a third-person omniscient perspective, and any time a character did something morally dubious, it was evident within the narrators tone (that said, it was previously written from more of a shifting third-person limited).
With this draft, my writing reflects a much more subjectively moral approach. If the group of characters that any given passage focuses on believes that what they are doing is in the right, the narration takes on that tone. With any given argument or disagreement within the story, it is presented that both parties could potentially be in the right. I do this in real life, even in arguments where I have stakes, especially if I feel one side is underrepresented. I blame my losing of Trial by Trolley on that. But I digress.
This moral subjectivity includes portions of the story where someone is most definitely in the wrong, such as in the case of a character who is verbally abusive. When things are described from his perspective, it’s made out to be, at least on the surface, that his actions are justified by his motives. However, from the perspective of the abused and several of her friends, he is made out to be the villain that he is. This is seen for (most of) the other villains in the story, as well – they clearly think they are in the right and dutifully defend their perspective.
And this brings up several questions: Is this how it should be done? What are the implications of presenting moral quandaries in this way? What are the consequences? Is this a way to make the book welcoming to all readers? Will it make the book alienating to all readers? Is there a happy middle ground, or are the extremes the only solution?
All these are questions I have considered, and here are the answers I have come up with, based both on what I have observed of other people, and what I have gathered from reading/watching other writer’s blogs/vlogs.
Implications and Consequences
The most obvious implication that this approach presents is that morality is subjective. It is subjective and measured by whoever is committing the action, and whoever the action is being committed upon. Subjective morality is a dangerous game: if morality is subjective, then no one can definitively say what is and isn’t moral.
So, if the book is written from a morally subjective approach, it could easily lead to others taking that same perspective. Assuming they take everything at face value and don’t bring their own biases into it. Which is impossible.
Let’s assume, for a moment, that everyone who reads the book will take their own biases and perspectives on morality into account when they read the book (and they will). Then, in the case where they are reading something that affirms their beliefs, they will agree with it, and like the writing more because it supports their beliefs. In the case where they are reading something that goes against their beliefs, they will disagree with it and perhaps consider a new perspective. This will, ideally, challenge their own thinking, and help to improve their critical thinking skills.
Now, consider a book which only affirms the authors perspective on morality. The book, whether it does so explicitly or implicitly, will tell the reader what to think on whatever is happening. Rather than thinking critically about everything that happens in the story and coming to their own conclusions, the reader is led by the hand to understand morality from the writer’s perspective. This would be fine and dandy if the writer’s morality was perfect. But no human’s morality is.
So, we must find a different approach. Consider a book which affirms the characters’ perspective on morality, even if told from the perspective of a voiceless narrator. The book will tell the reader that everything the target character is doing is good. This will make the reader question what is good. They will read something not good happening, say to themselves, ‘this isn’t good,’ and then (hopefully) begin to consider the moral imperatives of all things happening. To consider all sides of any given argument.
By this approach, the writer is not leading the reader to a specific moral perspective, but instead leading the reader to a vast library of moral perspectives, where the reader can more easily reconsider their views.
As well, writing from a morally subjective approach highlights objective morality. If a reader can look at something that is happening and recognize that what is happening is wrong, even when all possible arguments are made for it being right, then how can it be that the thing could ever be right?
In contrast, writing from a morally objective perspective, where the writer’s morality does not line up with the objective, does the exact opposite.
Even the Bible (more specifically the Old Testament) is written from a subjectively moral perspective, which highlights the fact that morality is objective. Nearly every act described in the books of Kings and Chronicles is written in an unbiased, here are the facts, format. This leaves the reader to interpret what is right and what is wrong. Even more so, this takes the focus off of the writers biases and places it on the consequences of the events that take place. Polygamy, incest, and rape, all written from a morally grey perspective, lead to dire consequences that lead to the downfall of Israel. We read through it and know that it is wrong, and those who do not see the consequences of those actions.
Welcoming vs Alienating
This, I think, is a question that has plagued me. Finding the line to draw, finding where Devilspawn reaches a point of being too alienating to my target audience for me to include various plots in the narrative. What I have decided on is this: I want people to be uncomfortable.
Devilspawn is written with a wide range of target audience in mind. It is made to make people question their own beliefs and their own actions. It is, ultimately, written from a Christian perspective, but it is made to make Christians uncomfortable, to call the religion itself out on the ways it has failed. It is also written to be enjoyed by those apart from the faith. I have attempted, in almost every scene where Christianity is brought up, to write it in a non-intrusive and digestible way. In a way that everywhere it’s brought up carries with it an important element that relates to the situations each character is going through and that has some plot relevance. Devilspawn is written to make people question their own reality and consider things from another perspective. One of the villains is a judgemental Christian; one of the heroes is a gay Satanist. As previously stated, everything in Devilspawn is subjective, but it all points to one objective Truth.
So, though Devilspawn is certainly alienating, I hope and pray that those it would alienate (i.e. everyone) would read it with an open mind and with the motive of gaining a fresh perspective on reality.
Conclusion: Is This How it Should be Done?
The straight answer is, ‘probably not’. The more complicated answer is that writing the book in this way will likely turn away many readers who are not expecting a book written in this way. As I’m writing this, the possibility of writing a sort of ‘letter from the author’ before the book begins comes to mind. One which explains that which I’ve written above. That the book is intended to make people feel uncomfortable, and make them question their own perspective. Because questions and doubts are the only ways we move forward. Questioning the understood best way to do something is how we find better ways of doing things.
And that is why I’m writing Devilspawn in this way.
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