On the Subject of Subjectivity (Devilspawn Update)

Another update on Devilspawn! In this post, I talk about the subject of writing from a morally grey perspective to emphasize the importance of morality.

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.

If what you just read happened to pique your interest, subscribe to my blog, either through WordPress or by way of using the email entry field on the right. Also, hop on over to our Facebook page and give us a like, leave us a comment, or share with your friends. Thanks for reading, and Happy Making!

Devilspawn and Divus Update

In lieu of releasing a chapter of Isle of the Dreamer (coming next week), I’ve decided to post an update on other projects I’m working on.

Unfortunately, there is no chapter of Isle of the Dreamer for this week, due to various things going on. I have, however, made progress on other projects in the past two weeks. Significant headway has been made on the most recent draft of Devilspawn, and actual work has been done on the video game I am working on, Project Divus (NP). More details below.

A Demon in the Night, Book I of Devilspawn

Unfortunately, Devilspawn sat dormant for several weeks while I got distracted by the wonderful prospect of doing nothing and lazing around all day. On the bright side, I have broken free from that temptation and made significant headway to the tune of and additional 30 pages.

As I write this, I come to the realization that I have given little to no updates about the writing of Devilspawn. Ever. Better late than never, I guess.

The first draft was 321 pages and the five people who read through it adored it. That, alongside actually finishing a draft for once, was a great confidence boost.

However, much to the dismay of the woman who is now my wife, I was unhappy with that draft. This was for two primary reasons (that are actually just one reason in disguise): (1) the draft had a lot of ‘downtime’ – periods where nothing would happen, involving multi-month gaps in time – which resulted in (2) a lot of plot threads being introduced in the final stretch of the book as they were being tied up. So, I decided to write out the second draft much differently – namely, by filling in the gaps, which padded out the book quite a bit.

The problem is that this made the book very long. It didn’t drag on, mind you, but it became quite long in the process, with many plot threads introduced toward the beginning of the book that wouldn’t be resolved until toward the end. Based on the length of the second draft, that probably wouldn’t have been for another 200-300 pages, which would be less than ideal. Thus, splitting the novel into two books.

Now, I could, of course, just write the whole thing out to its full length of 600-some-odd pages and then find a nice breaking point. The problem is that, with the way it was being written, that wouldn’t work very well.

Devilspawn is a character-focused narrative rather than a plot-focused narrative. There are several major plot points toward the middle of the book that would work as a nice finale for Volume I before transitioning into Volume II. The issue with that would be that its right smack in the middle of multiple character arcs. This would make the book feel incomplete.

Thus, my decision to simply start the next draft with that in mind: restructuring certain character arcs to be resolved before that point and pushing off other character arcs to be introduced after that point. Obviously, some character arcs will still span across both books, but the plan is to make Volume I feel more complete in itself, which is more pleasing in the eyes of readers and traditional publishers, should I end up needing to go that route.

Project Divus (NP)

Project Divus has seen many roadblocks in its production, not the least of which is my own laziness. The other was trying to work with a rather lethargic and disagreeable partner.

The starting area, with the main character swinging a sword

So, there’s been a shake-up in the production team, and I am now proud to announce that I will be working on Divus with my wife, Olivia, who will be working on the majority of the graphics for the game as well as helping me with level design. The two of us together have made what I would call significant progress on the game in the past two days. The starting area of the game is mostly completed, the Player Character (PC) can walk, can’t walk through walls, and can swing a sword. I say ‘can swing a sword’ and not ‘can attack things’ on account of I am currently having issues with making the code recognize certain colliders in the engine.

Other than that minor issue that I’m sure I’ll resolve soon, production is coming along quickly, especially compared to the last 8 months, where nothing was done except the creation of placeholder graphics (pictured above) that were very obviously based on those of the Legend of Zelda: Link’s Awakening.

Moving Forward

As previously mentioned, there is not chapter for Isle of the Dreamer this week. Rest assured, you lovely people who actually read it and keep asking me or my wife for more, another chapter is coming next week (hopefully). What I’ve been trying to do lately is release chapters on the second and fourth Fridays of each month with short stories being released on the Fridays between (thus, Sunny and Raphael).

The unfortunate reality is that life gets in the way of these sorts of things, especially when you haven’t actually released anything that can make you money (or don’t have a following at all) and have to depend on a day (read: 3 o’clock in the morning) job that leaves you feeling like time doesn’t exist for some reason and nothing matters.

That said, my goal is to release another chapter this upcoming Friday and another chapter the Friday after that, then return to the normal schedule. My hope is to keep releasing chapters and short stories alongside weekly status updates on the various projects I’m working on. If that doesn’t happen, see previous paragraph.

If either of the projects above happened to pique your interest, subscribe to my blog, either through WordPress or by way of using the email entry field on the right. Also, hop on over to our Facebook page and give us a like, leave us a comment, or share with your friends. Thanks for reading, and Happy Making!

Raphael

An orphan wanders through the woods to find a new home. This is a chapter from my upcoming novel, Devilspawn.

Caleb was given specific directions. He was told to follow the signs. To follow the road to Abba’s house. There, he would always be provided for. There, he would never want.

He was told he shouldn’t make the journey alone. Everyone else was too afraid. Too afraid of what lurked in the woods. Of leaving behind the only place they ever knew. So, he traveled alone, from the village of orphans he’d grown up in.

He followed all the signs, followed Michael’s directions perfectly. Until he reached a fork where there was no sign – at least none that he could see.

It was dark, the faint glow of the stars unable to peak through the forest’s canopy. Up to this point, every sign – with the exception of the first few – had pointed down a road that was clearly far less traveled, with the difference becoming less discernible with each fork. Here, both roads looked equally traveled – as if only a single set of feet had traveled each one several times over. Caleb could discern no other difference.

Caleb wasn’t sure how, but he knew he was close. He’d reach Abba’s house soon. So, he kept going, even if he couldn’t see where. He trusted that Abba would guide him.

Soon, he was set upon by one of the Fallen; its red, glowing eyes jumping out from behind a thick tree. Its bladed tail sliced through Caleb’s back, and he cried out as he fell to the ground. It threw a bag over his head and bound his hands and legs before carrying him off the path. He didn’t know how far.

“Abba, save me,” Caleb whimpered.

He was alone now – his kidnapper, Nivael, having just slipped into the next room.

Caleb could hear him talking to someone, although he didn’t know who. The Satan – who works to lead Abba’s children astray? Another of the Fallen, like Nivael? Another orphan, like Caleb?

He didn’t know and at this point it didn’t matter. All that mattered was that he continued to call out Abba’s name. That’s what Michael told him. “Call on Abba’s name, and He will send help.”

So, he repeated again, “Abba, I’m sorry. I took a wrong turn. Please, save me. I know You’re far away, but, please, hear my cry. Save me, Abba.”

Caleb heard a chuckle from the door. Nivael.

“You really think He cares about you? You think that with all the children He’s adopted – millions upon millions – he really cares about you?”

Nivael chuckled before calling into the other room. “Hey, this kid thinks he matters!”

He turned back to Caleb.

“You’re just some random kid who forgot the directions laid out for you. I did better than you did. At least when I went the wrong way, it was my choice.”

Caleb stopped his pleading for just a moment. He looked at Nivael as tears streamed down his face. “You think you’re better than me, just because you chose this? Because you chose to reject Abba’s love?”

Nivael let out a scornful laugh, his eyes darting to the side before focusing back on Caleb. “I didn’t reject Abba’s love. I accepted freedom. I listened to the words of the Satan, and, you know what, he made a lot more sense than Abba. To be able to wander through the woods as I please. To not be locked up inside Abba’s house, only to leave so that I can go ‘guide’ and ‘protect’ other orphans. No. I don’t want that.”

Caleb squinted at Nivael and sniffled. “Are you left wanting?”

Nivael scowled.

Caleb shook his head. “Abba, save me,” he whispered again.

“What was that?”

“Abba, save me,” Caleb repeated, louder this time. He began repeating it over and over again, slowly increasing in volume.

Nivael shook his head.

Eventually, Caleb’s words turned into screaming.

His screams repeated for many hours, until his throat became scratchy and his voice weak. But, no matter how much it hurt him, he had to keep crying out. He needed help. He needed Abba.

Just as he could scream no longer, the door leading outside swung open. The room flooded with light as a new figure entered. A servant of Abba, given the power of shining light, even in the darkest of places. The figure pointed at Nivael, who froze in place. “You shall not have this one.”

Caleb tried to call his name, but he could only manage to mouth it. “Zedekiah.”

Nivael broke from his trance and sneered at Zedekiah. “You think you can save him? You think you can defy the will of the Satan? He was the highest of Abba’s servants! You are feeble and weak compared to him!”

Nivael lunged at Zedekiah. His mane looked like a blaze of fire as he reached out his claws at the figure of light.

Zedekiah reached out His hand.

Nivael flew across the room. His bones shattered as he slammed into the wall and slumped to the floor.

Caleb could hear someone stumbling in the next room. A door swung open and he heard heavy footfalls running from the building. The sound slowly faded.

Zedekiah approached Nivael’s corpse. He strained to draw breath. “Yes. I can save him. And I do defy the Satan. I regret that you chose this name for yourself. I give you one last chance. Choose Abba.”

With all the strength he could muster, Nivael spat in Zedekiah’s face.

Zedekiah placed His hand on Nivael’s forehead, and he drew his last breath. “Goodbye, child.”

As Zedekiah turned to face him, Caleb shuffled around on the floor.

“Abba sent me,” Zedekiah said, bending down to untie Caleb’s bindings. “He was eagerly awaiting your cries for help, and He heard them. It is by your faith – your unwillingness to give up – that you are saved. Abba’s house cannot be reached without that”

Caleb sat up as he rubbed his wrists with his hands.

Zedekiah smiled at him – at least, Caleb thought He did. It was difficult to see His face. “You shall have the name that should have been Nivael’s.”

Zedekiah placed His hand on Caleb’s forehead.

Caleb felt a burning sensation. But it was comforting.

When Zedekiah moved His hand, Caleb’s new name was written there. He didn’t need to see it to know what it was. He knew it in his heart.

“What does it mean?”

Zedekiah stood up, taking Caleb into his arms before walking out the door. “God heals.”

Planners vs. Pantsers

A little blurb about the writing process, some info on Devilspawn, and a hint of life advice mixed in.

A common divide in the writing community is that of Planners and Pantsers. For those who are unaware what this divide is, the former is as their name suggests. They plan their story, outlining, creating all the major characters beforehand, and knowing, from the beginning, exactly what the story is about. Ultimately, things will change – perhaps things don’t go exactly as they expected, or they noticed plotholes that weren’t evident in their initial plan.

Pantsers, on the other hand, do the exact opposite. Their name is in reference to writing ‘by the seat of their pants.’ They do little to plan beforehand, simply starting to write and seeing where the story takes them. They create settings and characters as they emerge, often having a vague idea of where they’re going with things, but with no clear path to get there.

The divide between these two is most evident in that each often finds their own methodology superior. Planners will give new writers the advice to outline and plan everything beforehand. This will often result in a very hardlined story and the finished product will look very much like the first draft. Pansters will give new writers the advice to let the ideas flow through them – let themselves have a trash (or other, less savory, words, if they prefer) first draft. Then, write the second draft in such a way that it seems you knew exactly what you were doing the whole time – much like a Planner first draft. So, ultimately, it would seem, they end up at the same point, just with a different methodology to get there – a methodology dependent on the personality and thought processes of the author.

This can also be compared to the Meyers-Briggs Type Indicator (MBTI – a popular personality assessment) dichotomy of J and P (Judging and Perceiving, respectively). J’s, within the MBTI, are those who dutifully plan, creating schedules and itineraries, while P’s are those who tend to be more laid back about planning – they still plan, but, for those who strongly lean to the P side, every plan is penciled in; nothing is set in stone. It is known, among those who properly hold to the MBTI, that being strongly one way or the other is unhealthy, and, should someone strongly lean one or the other, they should practice moving more toward center, living in a more moderate manner. As stated by Aristotle (and, to a degree, Solomon before him and Paul after), the key to living a good life is moderation.

The same could easily be said of Planning and Pantsing. To lean more toward one side or the other will not result in an opportune story. Planning everything beforehand – having an outline, with specific characters, settings, and whatnot – disregards the minute, yet important, details that, on the surface, have little impact on the story, but can, in the end, inspire fantastic subplots or twists the author never would have thought of otherwise.

On the other hand, pantsing everything – writing with a vague direction – will result in unfinished stories, with a shoehorned ending that attempts tying up every plot thread in a neat little bow while leaving plenty of frayed ends and holes in the finished product that can be difficult to fix with new drafts without scrapping or adding entire chunks of a story.

I have, of course, seen ups and downs with both these methods in my own writing. My beta readers’ favorite characters (one of which ultimately became the actual main character in Devilspawn: Tara) wouldn’t have existed had I planned everything beforehand. As well, any time I try to plan something, I forget those small important details in the planning that are so important to the story itself. But, when I plan little, I find an issue with knowing where I’m going. With Devilspawn, I got to nearly 70,000 words in the first draft with no end in sight. I did as I previously described and shoehorned in an ending that was satisfactory to my beta readers of the time, but felt lackluster to myself. It felt like it was the ending of an entirely new book as I introduced new plot threads by tying them up. Ultimately, this is what led me to write Devilspawn as one novel in two books – the first book is what was the first two-thirds of the first draft, with more details and shorter, though more frequent, time jumps, made to be longer than the entirety of the first draft (the original first draft was around 85,000 words while the ‘first draft’ of Book I is over 90,000), and ultimately tying up the two main plot threads: Agathon’s search for his brother and his loved ones’ reaction to his disappearance. The second book will take on a couple subplots from the first book as main plots to round out the narrative itself.

As well, I’m much better at making up characters as I write than making them up beforehand. My original plan for Agathon and Sarah (a supporting character who was originally planned to take much more of a front-line role, similar to Tara) was hot garbage; both characters, and the ones I made up while writing (because when I was making the Satanists because my brain went ‘yes, 7, that’s a good number’ – should you read the book, you’ll notice I removed one as he turned out to be underutilized and didn’t serve a strong narrative purpose) turned out to be much better than the ones I prepared beforehand. I believe this to be the result of the fact that I was creating the lore for characters, rather than actually making character’s as described by Matthew Colville in his video on Lore vs Writing.

But I digress.

On the nature of Planners vs. Pantsers, I propose this: do both. If you are good at planning things out beforehand, do that – but not too much. Maybe plan a few chapters ahead as you’re writing (this is what I’m doing with Isle of the Dreamer, though the actual second chapter was never outlined at all and the outlined second chapter will be the actual third chapter). If you aren’t too good at planning things ahead (like me, see the paragraph above), write chapter by chapter, asking yourself at the end of each if you’re moving toward the end of your novel (if your novel is the sort which has a main plot). In both, remember to keep the end in mind.

So I suppose the two main takeaways can be found in the Bible: do everything in moderation, and keep the end in mind.