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“We control which words we use and what they mean,” Gabriel said to Lin, “but it’s easy to forget that words control us as well.”

“What? How?”

“It’s probably easiest if I demonstrate the concept of it.”

Gabriel asked Lin for a pen, and she brought one back from the kitchen.

“I’m going to write something on the box. All I ask is that you look at it.”

Gabriel pulled the pizza box over, closed it, and wrote the word “sex.”

Lin laughed out loud when she read it, and then she quit smiling and frowned. She looked up at Gabriel with eyes open wide.

“Gabby, I’m a little shocked. What are you getting at? When you were with me all those years, you never watched, did you? Or wait, do you mean . . . you can’t be thinking—”

“Lin, slow down. I meant absolutely nothing by it. It just happens to be a good word to explain my point.”

“And what exactly is your point?”

“That there are many different levels of perception when it comes to words. Other things, too, but for now, we’re talking about words.”

“What on Earth are you talking about?”

“That’s just a word written on a pizza box, but it affected you at a very high level. That’s where most people stay. That’s the effect many words have.”

“I still don’t know what you mean.”

“If I’m judging your reaction correctly, you immediately thought I was talking about something to do with sex and you and me. Whether I’d witnessed it, or . . . well, let’s not consider any other possibilities.”

Lin laughed, and Gabriel joined her.

“You saw it from a high level. As an idea. And even higher than that—you immediately tried to determine my purpose in communicating an idea. Now, think of the lowest possible level when your eyes observed what I wrote.”

“I’d see just a word, is that what you’re saying?”

“Yes, that’s lower.”

“I don’t—”

“You’d see a word and not wonder at all why I wrote it, but the word’s meaning would cause you to imagine something—I won’t ask what. But you wouldn’t wonder why I wrote it. That’s one step lower.

“Next, you’d see it and understand its meaning, but you would only read it and be aware of the word’s definition—you wouldn’t imagine anything.”

“That’s kind of impossible to get that low.”

“Oh, let’s go lower. Even if you tried as hard as you could, would you ever be able to look at it and not see a word? Could you see only individual letters and remain unable to see a word?”

Lin stared in silence until she could speak again.

“No, how could I?”

“That’s my point. Your mind keeps you at a higher level. But let’s go a step lower. Could you look at it and not even understand that those are letters? Could you make yourself see just lines and swirls and circles that don’t add up to anything?”

“No, how could—”

“Could you see those lines and swirls and circles and not understand that someone wrote them there?”

“Gabby—”

“Or could you look at it and not even comprehend that the box is white and the ink is black?”

“No, that’s—”

“Lin, could you look at it and not have a single thought about it? Not understand anything about it and just witness it?”

“No one could live like that.”

“No, because our world is built on the higher levels. It’s where we live.”

Lin stared in silence.

“And that’s just with your eyes.”

“What other—”

“Could you hear your language being spoken and not understand any of the words? If you wanted to, could you put aside that skill that you learned—that you weren’t born with—to the point where you only hear sounds that mean nothing? Can you turn that off if you wish?”

“No. No one can do that.”

“That’s the connection of words to your mind.”

“Magic, Free Will, Mayhem, and One Big Imagination: An Interview with Fiction Author, Edward Allen Karr”

Michelle Loufman, a storytelling strategist and photographer, posted her interview of author Edward Allen Karr on January 28, 2022. Her posting of their conversation can be seen HERE. More info on Michelle and her work can be found at the end of this article.

Michelle: Tell me more about your writing. What type of books or materials do you like to write? Why?

Edward: Hello, Michelle!

My first series, Fringes Of Infinity, deals with magic but not in the typical way. The foundational truth is that magic is real, and reality is made of magic too.

Besides hoping to craft compelling reading, I’ve sought to create a world that’s consistent and explains aspects of our world in perhaps a different way than a reader might have seen before. One example is free will. Is it a physical characteristic of a human but not all other life? Can that feature be seen? Can it be captured and used by someone else?

In Lin Finity’s world, everything living or not is made of magic. That doesn’t mean spells, potions, or anything like that. The magic, as seen by Lin when she uses her mayhem, is really another name for every possibility, every perception, and the unlimited wonder of continuous creation—so much that our minds buckle under the hysteria of it. The characters in her world didn’t learn magic techniques—their powers arose from the strength and determination they applied to the hardships life handed to them.

After a horribly difficult childhood, Lin leads an exciting life while struggling to learn all about the magic. It’s not until after she’s gone through the anguish of using her power as a teenager, becoming terrified of the brutality of what she had done, locking it away inside herself, then finally finding it again, that she learns the truth about the world:

“She laughed at seeing that it was all magic. Reality was nothing more than dreadfully slow, completely organized, and predictable magic.” From Lin Finity And Her Mayhem Rising.

My second series, Thrills N Kills In The Hills, is much less serious, but it certainly deals with bizarre happenings that probably aren’t, or at least shouldn’t be, possible. These books also allow me to turn loose my imagination but not in a profound, magical way. Deadly mixing of science and sorcery, mountain lions slaughtering and removing heads to leave body parts strewn about a Beverly Hills mansion’s grounds, gorgeous twins that are literally too hot for any earthman to survive . . . that kind of stuff.

Why do I write such things, you asked? For Dayzee Dazzle’s world, most likely simply because it’s fun. For Lin Finity’s world, probably because I have a nagging suspicion that magic is real, and reality is just magic too. Look around—it’s all a miracle, really.

Michelle: Where are you currently in your journey as an author? How many books have you published?

Edward: It all began with Lin Finity And Her Mayhem Rising, which is Book One in the Fringes Of Infinity series. “Lin Finity,” because she realizes that she’s infinite, and “Mayhem,” which is what she calls the first power she learns. It’s “Rising” because she’d buried the power somewhere inside when she was fifteen out of fear of the damage it could do. Now, about thirty years later, it won’t stay hidden any longer, and it takes her nearly being murdered to find the strength and focus she needs to reclaim that power.

I just recently published Book Four in that series, Flights To Forever, and there’s also a novella, which was written later but fits between Books One and Two. Just for kicks, I also started a second series, called Thrills N Kills In The Hills, about the deadly but comical (and maybe endearing?) exploits of three Hollywood film stars. I just recently published the third book in that series, On-Set Onslaught. Where Lin Finity is oftentimes serious, Dayzee Dazzle rarely is. Where the Fringes Of Infinity series carries shades of philosophy and religious themes, Thrills N Kills is mostly about . . . well, thrills and kills!

So, that’s eight books published, I’m currently writing the next Lin Finity book, and there are plans for many more, such as:

How about a third series? Lin Finity is best appreciated by readers a bit older, and Dayzee Dazzle is certainly not for kids. The new series will be aimed at ages twelve and up. I’m very much looking forward to beginning this series, especially since I already have a plotline and a tentative title for Book One.

Michelle: Tell us more about your process as a writer. Where do you get your inspiration?

Edward: Some of the inspiration for what I write comes from life experiences, but much of it comes from pushing reality aside and letting imagination out to roam as it wishes. Sometimes, there’s a logical constraint to what can or cannot happen next. Other times, things can take a sharp detour that even I didn’t see coming. And there are times (this might be an odd thing to admit) when I commit to a title long before I know too many details about the story. That was the case for Islands Of Time. I liked the title and what it described, and that largely provided a foundation for the story. It’ll be mostly the same for the fourth book in the Thrills N Kills series: Dayzee Dazzle And The Cadaver Collectors. I have only a skeleton of an idea for the plot (sorry, couldn’t help that!), but that title will be the source for much of what happens. It has already served to shape the ending of the book before it—there’s a fun description of Dayzee and the twins meeting The Collector and his wife. Creepy “people!”

Overall, a lot of a story’s direction and plot ultimately come from the characters themselves. What does Lin do after killing someone with her mayhem? Is she regretful? Or thrilled? What advice does Gabriel give after learning that Lin killed someone with her mayhem? Is it preachy? Or understanding? It’s mostly up to them.

When I was almost done with the first draft of Mayhem Rising, I was drifting off to a nap, wondering what would happen next between Lin Finity and Gabriel after the intense situation Lin had just survived. These lines of dialog came to me, from where, I have no idea. Imagination? Or did the characters somehow whisper to me after my consciousness had loosened its grip? When you read the last chapter (and you will, won’t you?), you’ll find that this ties up a persistent mystery in Book One in a tight, neat bow, and it leads immediately to an intense experience for Lin that I hadn’t seen coming:

     “Lin, I’ve never asked much from you, have I?”

     “No, Gabby, you really haven’t. All you’ve ever asked of me is that I choose to be good. You’ve been an amazing friend.”

     “Thank you. I’ve hoped to be a good friend too. But now, I must ask something of you, Lin.”

     “Anything, Gabby. What is it?”      Gabby turned toward Lin and looked into her eyes. In a serene yet commanding voice that spoke to Lin’s soul, Gabby said, “It’s time for you to remember who I am.”

The more I understand the characters, the more I can step away (but still keep my hands on the keyboard and coffee mug) and let them write the story. My job is mostly to listen and write down their story.

Michelle: What are some of the emotional highs and lows you face as a writer or in publishing your works?

Edward: The publishing is straightforward, so let’s get that out of the way first. It’s complicated when starting out, as there are lots of formatting issues, peculiarities of the different retail platforms, etc. There’s also editing, proofreading, legal issues such as copyrights too. All in all, that’s a set of knowledge that probably anyone can learn, although much hair might have been ripped out by then..

A related function is marketing. Just as there are millions of books being published, there are probably just as many marketing efforts going on. What works? Someday, I’ll let you know . . .

Now, for the highs and lows:

High #1: “I’m actually writing a novel! Wow!”
High #2: “I actually finished a novel! Wow!”
Low #1: “Um, okay, the world doesn’t seem to care. I thought it was a big deal, but the world says it’s really not? Wow . . .”
High #3: “You know what? I’m starting Book Two. Wow, it’s going to be good!”
High #4: “I finished my SECOND book! Wow!”
Low #2: “Oh, okay. Hey, world, where are you? Wow . . .”

And so it goes, possibly ending in literary success, possibly ending with a personal vow to never write again, or, where I’m at, which is: damn it, I like writing, I’ll keep producing, building up that library, and when success comes knocking, it’ll be, “About time, World! I’ve been busy and have a whole bunch of books for you!”

Michelle: What are 2-3 things you’ve learned about yourself during your journey as an author?

Edward: 1) I’ve learned that I write best when I have no expectations of getting anything else done in my life. That’s a difficult state to maintain, though. Still, I can go for long periods where I’m functional in my day-to-day life, but really, I’m mostly somewhere in a world that doesn’t exist, talking to the characters there, trying to find out what their lives are all about, and asking them, “Hey, you guys, what if this happens? What then?”

2) I’ve learned that I refuse to let go of the notion that it’s possible to write something that absolutely everyone would like. No choosing of a genre, no tried and true plot lines, no targeting a specific market niche, etc. Just something so well-written and revealing of truths fundamental to us all that the entire world stops to read it and says, “Oh, you know, that’s actually pretty good.”

3) I’ve learned that writing, especially how I do it (with no feedback from anyone—just writing and publishing), is a proverbial baring of the soul. Anyone can fairly say, “Oh, you thought that was funny (or exciting or sad or dramatic or sexy)?” Yeah, well, I must have because I wrote it.

Michelle: What inspired you to write? Have you always enjoyed writing?

Edward: I’d never focused in any serious way on writing until May of 2018. School assignments, even emails, provided opportunities to attempt to craft interesting and well-formed sentences and paragraphs, but it wasn’t until recently that it occurred to me to try writing a novel.

A performance by the Cleveland Ballet, “Alice,” was the spark that got me going. In particular, the two dancers that portrayed Alice and the Queen of Hearts really awakened a passion in my soul and taught me a truth that I wished I’d seen earlier but probably could not: they’d devoted their lives to their art, likely ignoring more practical and financially rewarding goals, and they generously shared their talents with the world. I enjoyed the entire show, though I’d believed that I couldn’t possibly ever appreciate a ballet. But I sat stunned in the audience, with my heart pounding, and dangerously close to allowing a tear to escape.

When had I even come close to creating anything beautiful for the world as had those two angelic dancers? Could I? Even if I tried?

The first novel began with the intention of it being something entirely different than what it became. At first, there was no thought of including magical powers—only a woman as the lead character who knew that her confidence and spirit, more than just her good looks, gave her all the power that she needed. In retrospect, I think that just didn’t cut it for me. To me, the power of a woman who knows herself and trusts herself goes beyond anything that can be described except as a form of magic. Two months later, more than 70,000 words had volunteered and arranged themselves, and I’ve been writing ever since.

So, Lin Finity became a woman of rare and unstoppable power over the magic of the world. Reading the books in her series might offer a glimpse into my heart and what I believe about the power a woman can have if she would only claim it.

Michelle: What advice would you give to others who have a desire to publish their own works?

Edward: This question implies that they’re already writing, and to that, I say, “Good! Keep writing!” It’s first and foremost about them expressing themselves and striving to produce something compelling. They should stay grounded in that reminder, never forgetting that the creating itself is the first level of success, and that can be enough. Fame and fortune can also be good, I suppose, but their actions, the actual creating, can be the goal. Should a singer stop singing if trapped alone on an island somewhere? I would hope not!

After that, having a thick skin could only help. Putting their work out in the world invites all possible criticism and maybe something worse: indifference! And even if they’ve created a work that’s perfect in every way, it will, without divine intervention (it seems), wither away unnoticed in a world flooded with books. I recently read that over a million new books are being published every year. And in this modern world of self-publishing and digital content, there’s no reason for any of those books to ever go away. The pile only grows wider and deeper every day . . .

Michelle: What’s your hope or vision for the future? What are you dreaming will come to fruition in your creative world?

Edward: By now, you’ve probably determined that money is not at all the highest measure of success for me. In a way, it kind of is a realistic indicator, though, because it says something about the popularity of one’s writing. But it’s very clear to me that hearing from readers that they loved what I’d written, that it did, in fact, touch their hearts and imaginations in some way, is the highest goal.

When I write, I’m in the scene, visualizing it as if it’s real, or at least seeing it as if in a film. So, of course, I can easily imagine any or all of my books making it into some kind of film or series. I’m sure that that’s hardly unique—most authors probably feel that way.

And again, even if any of this led to “Hollywood” types of endeavors, one of the biggest rewards would be seeing my work taken that far and appreciated by many.

Michelle: What is something you wish other people knew about you? Are you stereotyped or do you feel like there’s something the world needs to understand about you or your craft?

Edward: Reading my books is a bigger window into my soul than anything I could say in this or any other conversation. There are many activities in life that are group efforts, even though it seems to be a sole performance. Like a pop singer. Think of how many folks are working on that image, others writing the music and lyrics, the marketers studying what’s hot and what’s not, etc.

Now, think of a solitary writer, sitting in a quiet house, day after day, putting carefully chosen word after word, trying to grasp more clearly a feeling seen lurking out on the periphery, then pursuing it and pouncing on it, packaging it up in prose, and delivering it to just that one scene, in just one chapter, in just one book. Then, repeat. Many, many times.

Also, consider that the large majority of books (I have no data, but this is my impression) go through a thorough editing process, where advice is given/taken for content, story line, character development . . . all of it. Many authors, I believe, also have taken either college-level courses in writing, or they have at least attended seminars and workshops. Well, I’ve done none of that, and I’m foolish enough to write, polish it up as well as I can, and that’s it—I hit “publish.” What the reader reads came directly from me and me alone. Love it? Hate it? It’s all on me.

Michelle: If you have any final thoughts, feel free to include them here.

Edward: First, I apologize if my answers were longer than you expected or wanted. But you did ask a writer to write, so . . .

The new photographs you recently shot of me are fantastic! I’d been using a more formal headshot, something more appropriate to my day job career. I knew it would help to have photos that presented a more accurate image of me as an author, especially for the type of writing that I do.

I couldn’t have described what types of photos would be appropriate, so it was a relief that part of your process was to first discuss with me my work. You absorbed that info, probably instinctively knew what would be best, and set about to get the right shots. At the photo shoot, I welcomed how you kept me in the right mood to present myself in the way you knew would produce the results you wanted.

I’ve uploaded the new photos everywhere that I could, and I’m very happy with the image they present. Thank you! Let’s do it again soon!

Michelle Loufman is a storytelling strategist creating multi-media content to help mission-minded business owners and artists better connect with their audiences and ultimately motivate them toward an emotion, a sale, or a donation. She does this through photography, brand story coaching, and by writing human interest stories that challenge stereotypical social narratives. Her mission is to create a relational understanding for more effective communication.