Karen Turner (pseud. Lynn Kazi)

 How did you get the idea for Swordsman on the Narrow Pathway?

The idea came from a general observation that African-American tenors were scarce on the dramatic stage as the romantic hero.  Also, I read disappointing interviews by performers maintaining that “luck” or the “music gods” boosted their labors toward success, claiming not to be “fanatic” about faith.  The Swordsman character Keldrik Devancer represents a hero of conviction and courage, both on stage and off, who kicks superstition through the uprights and enters each battle a confident warrior in Christ’s army.

Are you a musician?

No.  I used to think my voice gave winning harmony in a choir, but now I know that was a lie.  These days if I'm visiting a congregation, the person singing the hymn beside me in the pew may compliment me, but it's all my testimony of conviction.  As a lifelong music lover -- R&B, rock, blues, concertos, and symphonies -- I have great respect for musicians trained in the ability to read notes, compose with honor, and perform melodies that have lasting appeal over time.

When did you begin writing?

I was about 6 or 7 years old, creating cartoon characters at home, and shaping stories around their wacky adventures.  At school a teacher started a Creative Writing segment to our studies, and I learned somewhat about rhyming schemes.  But it was my mother who offered the best instruction and encouragement.  Before I even started school, Mom had been giving me a superior education right at home, multiple materials handy, while Dad earned the living. 

Can you describe your novel in 50 words or less?

Swordsman on the Narrow Pathway involves a soulful Gospel tenor following his childhood dream for center stage heroic leads, leaving a lovely fiancée behind until her neglect is soothed by a brawny, stylish executive's office promotion pitch, testing talented Keldrik’s faith against suspicion and mocking co-stars in on-and-offstage warfare.

What is your favorite scene in the book?

I like the outburst between Keldrik and his father disputing a black man’s station on the dramatic stage, as well as scenes involving Keldrik’s actual stage confrontations.  I’m also partial to the dialogue between Keldrik and his fiancée Iresha, whether in romantic bliss or a heated argument.

Who are other notable African-American dramatic tenors?

Thomas Bowers, a Philadelphian on tour in the 1850s – Bonanza built an episode around him starring William Marshall in 1964.  Roland Hayes, a Fisk alumnus with a distinguished career in the early 20^th century.  More recently, George Shirley,  Francois Clemmons, Thomas Young, Roderick Dixon, Lawrence Brownlee, Paul Williamson, many more.

What would you want your readers to take away from the book?

New friends in the persons of these gifted, tested, gutsy characters.  A stimulated interest to explore classical drama set to music.  An encouragement for our stage and studio performers to hold onto a commitment to drama, and our motivation to support them.  Perseverance toward respectable goals in or out of the arts can transport you far from familiar territory, so never travel without your Bible.

What satisfies you about writing?

I love getting into my characters’ heads, creating dialogue, setting up situations that paint pictures and pull the reader into the scene -- senses they can feel, food they can taste.  To me, my characters are real folks even when the story is fiction.  Some of them are sure-enough sour company and get on my nerves, but that's how rotten they are, in word and deed.  On the other hand, I miss my heroes when I'm not writing about them.  They have something to prove, in a style that defines what shapes their character.  But in the process, they've got to get touched up, too.  It hurts when I have to hurt them, but that's how they learn.  I like the opportunity to reach a reader dealing with conflict, and bring at least one hero's testimony of direction, answers, courage and trust.

Can you describe your journey to publication?

I used the Literary Market Place directory at the library to contact agents for Cottonland Songstress who did not charge a fee and accepted first-time authors.  After several rejections, I sent for Sally E. Stuart’s Christian Writers’ Market Guide and found PublishAmerica listed, then contacted them with a query letter introducing my novel.  They requested first three chapters, then the entire manuscript for review.  To my stunned surprise, Cottonland Songstress was accepted and published in the fall of 2001.  Two years later I submitted another query letter to PublishAmerica for Swordsman on the Narrow Pathway.   They asked to review the manuscript, and two weeks later accepted it for publication, released in January, 2004.

What did it feel like to see your work in print?

First I was struck by PublishAmerica’s impressive cover design for Swordsman on the Narrow Pathway, because they used dignified insight in representing Keldrik and Iresha in a happy moment.  Their pose is likely early in their relationship.  Iresha had just graduated, glowing with anticipation of her man laboring close to home. Keldrik was in love, holding down a steady job, wondering how to break the news to his lady about taking the next step toward fulfilling a childhood dream.  Plenty of conflict awaited them, concealed behind their contented smiles.  Then, I realized my responsibility to present quality drama to readers.  It’s a hopeful, humbling experience.

What was the best writing advice you received?

From Writers’ Digest:  Show-don’t tell, revise, revise, revise, writing is re-writing, never give up.

Which authors have inspired your writing?

Charles Spurgeon was a master at metaphors, his daily devotionals flow with them.  Charles Dickens used killer description.  Richard Wright was gifted for graphic assault.  Ernest Hemingway gets a mention for his technique with perspective.  Erle Stanley Gardner excelled in dialogue, and August Wilson’s brand stirs home-cooked regional roots into his characters’ distinctive voices. 

What advice would you give to other aspiring writers?

Don’t be cheap with your language.  Develop an extensive vocabulary, so that your narration and characters express attitude in unique, colorful terms.  Script writers  of radio dramas from the 1940s and 1950s (audio available online) couldn't take license with laziness.  Confined to rules that respected their audience, they had to finesse a technique that dodged profanity.  It worked, and their characters never lost a shred of intensity.  Successful examples are The Adventures of Philip Marlowe by Raymond Chandler, Suspense, The Whistler, Mr. and Mrs. North, and Tales of the Texas Rangers.  These programs are rich in metaphors that pull you into waves of human conflict.  Build a home collection of favorites your library offers:  biographies, dramas on CD, screenplays in print.  Even classic serial comic books from the past.  Learn to write a good query letter.  A subscription to Writers Digest is helpful.  When you send a query letter or a manuscript by ground mail, always enclose a self-addressed, stamped envelope, and make sure you stick enough stamps on the SASE.    

 Do you have another novel planned?