Readers deserve to know how this work was written, where AI entered the process, and who makes the final decisions. Here is that account.
THE ORIGINAL MANUSCRIPT
I wrote the complete original manuscript of What God Says Through the Ages entirely by hand before using generative AI.
The manuscript contains approximately 165,000 words across 66 chapters, one for each book of the Bible. I began with Genesis, read clusters of verses, gathered their central events and teachings into stanzas, and kept going through Revelation.
Sometimes a difficult passage finally settled into rhythm and rhyme, and I jumped for joy. Other passages brought tears. Across approximately thirteen years, the work carried me through frustration, correction, gratitude, and a growing reverence for Scripture.
I believe God gave me the ability and opportunity to do this work. That belief carries a responsibility: what I write must be measured against the Bible.
THE BOOK’S FORM AND PURPOSE
What God Says Through the Ages is a poetically abridged, linear epic ballad—a narrative retelling of every book of the Bible in rhythm and rhyme.
It uses four-line stanzas, with end rhyme between the second and fourth lines.
Each chapter follows one consistent syllable pattern. The opening stanza establishes the count for each of its four lines, and every stanza in that chapter repeats those same counts in the same order. The next chapter may use a different pattern, but its stanzas follow that chapter’s opening stanza just as consistently.
That steady meter and end rhyme help carry the story aloud and make its language easier to remember.
The manuscript is arranged in two volumes: the Old Testament and the New Testament. This gives a publisher the option of a combined edition or two coordinated books. Editing of the New Testament is ongoing.
This is not a Bible translation or a replacement for Scripture. It is a companion study aid for personal reading, teaching, meditation, and group discussion.
My hope is that remembering the verse will help readers follow the account—and send them back to the Bible for more.
WHERE AI ENTERED THE BOOK
Before introducing AI, I had finished the handwritten manuscript, typed it into a computer, and edited it repeatedly myself.
I then began using generative AI for detailed editorial review. It helped identify possible problems with grammar, punctuation, syllable counts, meter, rhyme, clarity, consistency, layout, formatting, and biblical accuracy.
That assistance included suggested wording for individual lines and complete stanzas.
Some suggestions were accepted substantially as offered when they improved the writing without changing my intended meaning. Others went through repeated revisions. Many were rejected because they weakened the poetry, misunderstood Scripture, or changed what I was trying to say. Sometimes I rewrote the passage myself and submitted it for another review.
AI also helped draft the short introductions preceding the biblical books. Those introductions are separate supporting material, not part of the original handwritten verse manuscript.
The idea for the book, its poetic design, chapter structure, thematic subtitles, theological purpose, and complete original verse draft were already mine before AI entered the editing process.
THE LIMITS OF THE TOOL
AI can sound certain and still be wrong. It has misunderstood my theology, offered faulty wording, and suggested changes that did not preserve the biblical meaning.
It has no spiritual discernment. I do not treat its output as revelation or accept a claim merely because the software sounds confident.
Throughout the editing process, I work with an open Bible and examine proposed changes myself. I retain final authority over the theology, meaning, structure, tone, and wording.
The tool can offer a line. I must decide whether that line belongs.
THE ESSAYS AND MEDIA
I use AI more extensively in prose and media production than I did in composing the original book manuscript.
For the essays, I develop the subjects, biblical connections, points to address, and direction. I use AI to help draft and refine the language, then review, challenge, and revise the results until they say what I mean in my voice.
I also use AI and other digital tools in producing the media. That process is different from the handwritten beginning of the book, and readers deserve to know the distinction.
The book and all long-form essays appear under my real name, Jeff Wager. Musical meditations, soulful videos, and timeless reflections appear under Christian Servitor.
I originally adopted that pseudonym partly because I feared readers would judge the message by my troubled past. I no longer use it to hide who I am. It remains a creative name for the media, openly connected to me.
My testimony appears in The Man in the Shattered Glass. The Platform Directory & Creative Ecosystem explains the categories and where the work appears.
MY RESPONSIBILITY
I use modern tools to create and share this work, and I am open about how I use them.
My approval does not make a passage infallible. If an error gets through the review, correcting it remains my responsibility.
Readers are welcome to question a claim, examine a passage, and compare what I publish with Scripture. Putting my name on the work does not change the standard it must meet.
“Providing for honest things, not only in the sight of the Lord, but also in the sight of men.” —2 Corinthians 8:21
—Jeff Wager
Editorial and generative-AI assistance disclosed above
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