Tuesday, February 22, 2011

LORILYN INTERVIEWS Tracy Krauss about her book ”My Mother the Man Eater”



Lorilyn: When did you know you wanted to be a writer?

Tracy: Although I have always loved the creative process and have been a “storyteller” for my entire life, I started writing about 25 years ago. Of course, in those days it was a compulsion I found time for during my children’s naps. I hammered out reams of paper on my mother’s old typewriter, or filled notebooks with my scrawl. 

When the home computer age came to be, it revolutionized my writing, but I spent many tedious hours retyping what I had previously written and discovered most of it wasn’t really worth the paper it was written on! I finally started looking more seriously into publishing about eight years ago.


Lorilyn: How do you write? By the “seat of your pants” or outlining?

Tracy: A little of both. Once I get the inspiration for a novel, I like to create very elaborate background stories for each character. I like to know my people inside and out and understand what makes them tick. Then I do a rough outline, eventually expanding into plotting each Chapter or scene. Invariably, though, when I start the actually writing process, lots of things change and I go with that. The characters seem to take on a life of their own and often surprise me with what they say and do.

Lorilyn: Tell us about your new book, where the idea came from, how long it took you, what inspired you, and how people can get a copy.

Tracy: My Mother the Man-Eater 
was originally inspired when I was playing the Sims. The characters and interaction mushroomed into the idea for this book – a forty-something cougar on the quest for fulfillment. 

From the time I actually sat down and began crafting the idea into a book until it was finished was about four years. I tend to work on several projects at once, so this was while working on three other novels and about six plays (not to mention working). I

t is available at the usual online stores - Amazon, B & N, Chapters/Indigo (in Canada), Blessings Christian marketplace, and others. It is also for sale in several local brick and mortar stores in my area, Chapters/Indigo Stores, or directly from the publisher.

Lorilyn: What would you say to a writer who aspires to write fiction? Any good tips?

Tracy: Never stop learning. The moment you think you know it all is the moment you become stagnant. This means writing, writing, writing, and sharing your work with a critique group or other trusted friends. (Start with people who won’t be too hard on you.) 

After that, seek critique from unbiased and professional people. These commentaries often hurt, so get used to it and get tough. It makes you stronger and makes you a better writer. 

Taking courses and workshops is probably also a good idea as is reading lots of books in various styles and genres. Finally, examine your reasons for writing. If it is to get rich and become the next NY best-seller, then maybe you should quit and do something else. 

If it is your passion, however, you really don’t need me telling you what to do. You already know: WRITE.

📗📗📗📗📗

Tracy Krauss is an author, artist, playwright, director, worship leader, and teacher. Originally from a small prairie town, she received her Bachelor’s Degree at the University of Saskatchewan. She has lived in many places in northern Canada with her husband, a pastor, and their children. They currently live in Tumbler Ridge, BC

My Mother the Man-Eater is Tracy’s second published novel. A third novel Play it Again is currently in the production phase and is the sequel to her debut novel And The Beat Goes On, an archeological suspense. Other published works include a play called ‘Ebenezer’s Christmas Carol’ available through Pioneer Drama Services.

Thursday, February 17, 2011

CREATIVE WRITING INSIGHTS: “Get Real,” by Lorilyn Roberts: Based on Ken Kuhlken’s Book “Writing and the Spirit”



Becoming the person God created me to be has been fraught with unbelievable obstacles. I don’t know whether it is so with others, but from the time I was a child, I have struggled with being “me.” 

A broken home at an early age, unrealistic expectations, lack of spiritual truth, insecurity, and a failure to recognize me as “created in God’s image” kept me on dead-end roads for years.

The gumption never to give up in search of truth was God’s gift. His unconditional love has enabled me to overcome the demons from the past, the lies I believed, and the grace to let go of the hurt. Redemption is the reward in this world for a life well-finished in spite of perilous beginnings. And for that I am thankful.



CREATIVE WRITING INSIGHTS: “Creative Writing Killers,” by Lorilyn Roberts: Based on Ken Kuhlken’s Book “Writing and the Spirit”




I have discovered the greatest killer of creative writing is lack of sleep. The second greatest obstacle is worry—about the future, my family, my career, or not being in control.

In recent years, I have made sleep a priority, but I haven’t conquered this dragon. On some days he roars out and I’m beat completely. I tell myself, this, too, shall pass. Tonight I will get a good night’s rest and tomorrow I will begin again. The first step, though, is recognizing the need and then pursuing the need with commitment. I have found that commitment is attainable, though not without sacrifice. Sometimes other things don’t get done. But to be creative, I must get sufficient sleep; no ifs, ands, or buts.

The second obstacle presents a more slippery slope. I call this the battle of emotions. My human nature is to worry; my spiritual nature is to trust God. As pointed out in the chapter, I must begin with the “spirit” to even have a chance of winning this battle. Without God, I can’t do anything. My writing is stale and I don’t even have a desire to write. All my energy is consumed with whatever I am besieged with, and the result is depression.

I have come to realize there is something circuitous about this; I write not to become depressed, but I can’t write if I am depressed. So it begins with the Bible, focusing on God, and prayer. These tenets of the faith help me to be in the right mindset to overcome evil, and I believe it is evil that prevents me from writing. It is a battle of the mind for control—worry versus trust, belief versus unbelief. These battles, though, can be woven into wonderful stories with redemption. That is why I write.


Friday, February 4, 2011

CREATIVE WRITING INSIGHTS: “The Gumption Factor In Writing And Getting Published,” by Lorilyn Roberts




In my advanced writing class at Perelandra College, Professor Ken Kuhlken wrote, “When we have preconceptions, we need to let go of them if we hope to find new answers.”

Preconceptions can set us up for failure if we are rigid. But what if we use our preconceptions to catapult us to a level of excellence not limited by our finite vision?

A couple of years ago, I wrote my memoir about the adoption of my two daughters as creative nonfiction. I meticulously researched facts and details I had forgotten. I scoured the Internet to verify locations, names, dates, and chronological order of events. I pulled out every document I had saved from both adoptions and poured my heart and soul into my writing.

I asked many friends, professional acquaintances, and editor-journalism-communication types to read Children of Dreams and offer suggestions on how I could make it better. I listened and made revisions that created an almost unbelievable story.

Two weeks before the Florida Christian Writer’s Conference in 2009, I sent off my completed manuscript to be reviewed by an editor attending the conference. I spent $50 and downloaded a file to prepare myself for the right attitude while at the conference. I had attended this conference twice before and came away both times disillusioned. This time I was determined not to let that happened.

I couldn’t think of anything that an editor could say to me for which I would not have an answer. I launched my website before the conference and signed up for the marketing class with Randy Ingermanson. I was ready to dive in and market my book if an editor or agent offered me a contract on Children of Dreams. I did not feel like I was setting myself up for failure. I always set lofty goals and then leave the outcome in God’s hands.

The conference arrived and I was excited to be there. I couldn’t wait to share the joy of my book with others. But when I showed my manuscript around, I was surprised by the comments.

“No one is publishing memoirs right now,” one person said. “Oh, a memoir,” another stated. People stepped back from me like I had bad breath. Nobody would read one line and acted like I had written something C-rated at best. But I remained positive. I was certain when I received my manuscript back from the reviewing editor the next day, he would be interested.

The moment arrived when all the reviews were handed out to the attendees. When mine wasn’t, I went up and inquired. Despite the volunteers looking everywhere, they didn’t have mine. While my book was “lost,” all the remaining slots to meet with other editors filled up. Nobody knew where my book was. If the editor who had received my manuscript didn’t like it, I would have no opportunity to present my book to someone else.

To say I was disillusioned is an understatement, but it didn’t come close to what I felt when my manuscript was found. I read the note the editor wrote. “You might consider submitting this to a magazine.”

If the editor had read one paragraph of that 235-page manuscript, he would have known the story couldn’t be condensed into an article. I had presented part of it to a “Focus on the Family” editor a year earlier, and her comment was, “It’s too long. If you can shorten it, we would love to take another look.” I was unwilling to cut it down more, and it was that comment that made me realize I needed to write the whole story. It took 235 pages to do the story justice.

I did meet later with a couple of editors at the conference and was told by them—as well as an agent, “When you have one thousand people on an opt-in list, come back and talk to us.” While I was nice to them, I thought to myself, if I had one thousand people on an opt-in list, why would I need you?

As a result of that experience, my “gumption” kicked in. I reassessed what I really wanted. What was important to me? Sometimes “no’s” become wonderful opportunities to think “outside the box.” We are free to pursue goals we never would have considered if we had been given what our preconceived ideas told us we wanted.

The key is to be open to change, to give up something to receive something better. Since God controls the outcome, we should focus on the process and what we can do to enhance our chance to achieve our goal.

I have never met an author who didn’t have a lot of gumption to become published. Good writing and successful marketing are key, and money helps the process to go faster as far as exposure, but without the seed within us never to give up, the chances are we won’t go anywhere with our writing.

Today I have forty-three reviews with five stars on Amazon. I thank all my friends and professional contacts every time a new five-star review goes up, knowing without their honest input—and yes, some of it hurt—Children of Dreams wouldn’t have all those wonderful reviews.

My gumption not to give up is still intact, and I am more determined than ever to share my writing with others. Preconceived ideas have long gone out the window. I am setting a new path into the unknown with the John 3:16 Marketing Network, writing a new young adult fantasy novel, obtaining my Master’s in Creative Writing, and hopefully someday will teach at the university level in China when I finish my education.

God gives us a cup overflowing with opportunity when we commit our way to Him. Gumption is the human quality He endears us with to get us started. If God is for us, who can be against us?

You can read more about Lorilyn on her website at LorilynRoberts.com














Tuesday, January 18, 2011

CREATIVE WRITING INSIGHTS: “The Fictional Dream,” by Lorilyn Roberts


Those who are deep thinkers about fiction writing, enjoy these thoughts about the fictional dream, based on famed author Jon Gardner's philosophy.

I am thankful the writing of the fictional dream has no rules. This allows our fictional dream to explore “where no man [or woman] has gone before.” Jon Gardner admonishes in The Art of Fiction: Notes on Craft for Young Writers, don’t write what you know; write what you don’t know. Is there enough creative artistry within me to pour out my soul—and write my fictional dream? I cherish the freedom to risk. As someone who becomes bored easily, I cannot write only what I know.

As I think about Gardner’s words and the fictional dream, I have come to realize seeking a Masters in Creative Writing can be risky for an artist. The creative process can be killed as one takes captive every tidbit of advice. With the earnestness of a perfectionist, zealous corrections may creep in which destroy the fictional dream. The broken threads threaten to braid themselves into a twisted nightmare which may be technically sound but artistically wanting.

But there must be limitations unless we are God. When I wrote my memoir Children of Dreams, I sat down at my computer on a Sunday morning and started writing. I didn’t study any “how-to” books or even question if I knew what I was doing. I just started writing. The more I wrote, the easier the task seemed. But this “fictional” dream was rooted in reality. Once I had tasted the sweet victory of finishing a book, I wanted to write another one. I also realized at that point I had attained the highest level of writing I could achieve. Raw, God-given talent can take you only so far.

What happens when you want to go to the next level? The reality of ignorance raises its head. Like when you study the Bible for the first time seriously, you soon realize how little you know. 

A writer is much like an artist. I studied creative writing and books by Jon Gardner, Linda Seger, James Scott Bell, Charles Dickens, Linda Pastan, Edward Hirsch, Carolyn Wheat, William Zinsser, Jon Franklin, Mark Jarman, Jack Bickham, Graham Greene, Michael Tierno, Robert McKee, and Ken Kuhlken. My mind became overwhelmed with rules of do’s and don’ts, plot and structure, complication and denouement, point of view, scene, style, arc, and creating believable characters.

On the marketing side, voluminous sites on the Internet promise shortcuts to success. One even claimed, “Pay me X dollars and write a book in a weekend!” Would I even want to read my own book written in a weekend?

But anything worth achieving has no shortcuts. Gardner points out you must learn the rudiments or you will never become a Master. I felt my fictional dream floating away from me. Derisive voices shouted at me convincing me I couldn’t write anything anybody would want to read. My fictional dream became filled with demons disguising themselves as truth. “You can’t do this. You are no good.”

Pain and doubt plagued me, “Am I going forward or backward?” I questioned. I slammed the book down and screamed back, “Shut up!” But as one continues on this journey into the unknown of the fictional dream, slowly, but painfully, mastery sets in. We come to the realization, “I can do this, and now I can do it better.”

If we are human, we will never quit dreaming. Our job as writers is to take that dream and put it on paper. Fiction gives us the freedom to state it more real and dreamlike if we use the tools in the right way. We can escape into another world that we create through the use of verisimilitude. Verisimilitude allows us to tell our story in a convincing way through the proper use of voice and devices. We must persuade the reader that what we are telling is true. Details should paint a setting that’s real. Characters need to be lifelike. Problems must appear unsolvable, and the protagonist must beat overwhelming odds. We may move the reader to tears of hilarity, to disgust or anger. But we must move him emotionally. 

Otherwise, he will stop reading and say, “This is not believable. I am bored,” and put the book on the shelf. Not only have we failed to achieve success with the fictional dream, but we have also lost an opportunity to change a life (and will probably lose the reader for future books).

My most recent example of a fictional dream that failed is The Shack. The beginning of the book was surreal. I had to put it down. I was terrified that one of my daughters would be kidnapped and murdered. I still have a hard time looking at ladybugs the same way, deliberately not counting the number of spots on them. The detail in the writing drew me into the fictional dream and I was terrified.

I eventually picked the book back up and started reading again. I was too hooked to not finish it. But then something happened. I read the scene where the Trinity was split into three life-like people. The God part of the Trinity was called “Papa.” Immediately the fictional dream was no longer real. While the writing was creative and the rudiments were in place for a great story, the fictional dream in this case interfered too much with what I know as truth. I couldn’t turn off my unbelief. The fictional dream deviated too far from my core values, much as Tevye in Fiddler on the Roof could not bless his daughter marrying a non-Jew. His acceptance of her marriage would have broken him. I put The Shack down in disappointment several months ago. I retrieved it from my bookshelf as I thought about the fictional dream and attempted to read it once again. But I couldn’t.

From The Shack experience, I believe Gardner left out one important point about the fictional dream: If the core beliefs of a person are too violated, the fictional dream cannot become real. The fictional dream has limits of believability that for me, at least, can’t contradict the Bible. But recognizing the limits of the fictional dream shouldn’t dissuade us from pursuing it. In the process, we will elevate our writing to a higher level than we would have achieved otherwise.

I see the Bible as the greatest story ever told, and the proof-texts in the New Testament are well documented in the Old Testament. It was the proof-texts that validated the Old Testament that convinced me that the New Testament was true. Jesus was born into the world to save mankind from his sins. As I think about that, I am struck with the importance of building the proof-texts into the story We must authenticate every detail, provide a colorful history, present the vividness of our world in 3-D, create characters that are striking, and a story that the reader will care enough about to forego going to the bathroom until he can no longer bear the pain. The fictional dream becomes his world now, leaving him in suspense. He worries about the characters as if they were his friends, his family, or himself.

As another example, the fictional dream should be like our dreaminess when we sleep—where we absorb everything into it like a vacuum. The thunderstorm outside the bedroom window becomes part of the reality of our dream. The characters who pop into our dream out of nowhere are people we know in that other world. Some of those people are found in the real world. Some aren’t, just like in the fictional dream. In the dream state, I have places I have visited time and again, places that do not exist in reality. I have friends, jobs, and crazy things I do that seem perfectly normal in that other place. I recently woke up one morning and wondered who that man was I married during the night. Our dreams take us to places we have never been consciously, but unconsciously, have touched us in ways we may not be aware of. We work out our fears, our hopes, our drudgeries, our unsolvable issues, and wonder the next morning, “Why did I dream that?”

The fictional dream may reveal the answers to some of these perplexing questions. Are not most of our stories borne out of the frailness of our human nature, our fall from grace, our sinful condition, and our hope for resolution? Like stardust from a star, even a child knows fear, worry, pain, sadness, and death, and the fictional dream can promise insightful answers. We write as a lover woos his mistress, convincing the reader to discard his logical thinking and embrace our creativity. We ask him to risk embarking on this fabulous journey that has become our fictional dream. Can we offer hope of escape from reality, even redemption? The choice is ours. If I was possessed, I could present a terrifying world of despair and hopelessness. 

As Gardner points out, however, be careful. The written word can’t be erased easily from a sensate individual’s memory. Our words will live on in books long past our existence on this rock suspended in space. We possess the power of demigods from hell or messengers from God. How we touch the lives of those around us, even many years into the future, for good or evil, comes from deep within us.

Let us not disappoint. May we give the reader the roller coaster ride of a lifetime, with all the thrills he hoped for; and then surprise him with more. Let’s not waste the opportunity or gift of writing God has shared with us. As an author hoping to emulate the Greatest, let us begin our journey with one word, and then another, and then another, as an artist draws on a canvas until the fictional dream becomes a masterpiece. And hopefully, the reader will say, “That was good. I wish I had more to read,” close the book and relive the fictional dream.