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Virtual Book Club: Lorraine Devon Wilke

Today, I’m delighted to welcome Lorraine Devon Wilke to Virtual Book Club, a series in which I put questions to authors about their latest releases. If there’s anything else you’d like to know, you’ll have the opportunity to post your questions at the end.

Lorraine Devon Wilke – writer, photographer, singer and songwriter – started early as a creative hyphenate. First, there was music and theater, next came rock & roll, then a leap into film when a feature she co-wrote (To Cross the Rubicon) was produced by a Seattle film company, opening doors in a variety of creative directions.

In the years following, she wrote for and performed on theatre stages, developed her photography skills, and accrued a library of well-received feature screenplays. She kept her hand in music throughout—songwriting, recording, performing—leading to the fruition of the longtime goal of recording an original album, Somewhere On the Way, which garnered stellar reviews and can be found at CDBaby and iTunes. She continues with music whenever she can (which, she maintains, is never, ever, enough!); a collection of her recorded material is available at SoundCloud.

Devon Wilke’s current life is split between Playa del Rey and Ferndale, California, and is shared with her husband and son. She curates and manages both her fine art photography site and personal blog, is a regular contributor at The Huffington Post, and writes a monthly column for the award-winning northern California newspaper, The Ferndale Enterprise.

Her debut novel, After the Sucker Punch: a Novel, and her short story, She Tumbled Down, were 2014 publishing successes, with 2015 seeing the launch of her new novel, Hysterical Love: a novel

Q: Lorraine, with so many strings to your bow, please tell us how you came to be a writer.

I was a voracious reader throughout childhood (home movies often find me sitting amongst swirling sibs, lost in a book!), but the tipping point came when our one family TV blew a tube and my father opted not to replace it. Instead, and despite our howls of protest, he brought home boxes of books from the Chicago library and said, “READ!” Since I was already with the program, immersed in everything from Laura Ingalls Wilder and Madeleine L’Engle, to Carolyn Keene and Harper Lee, those boxes were pure gold for me. Eventually my appetite for words expanded beyond reading to include writing. In high school I wrote for the school paper and was editor of our senior class literary magazine; college brought short stories and collaborative theatre, and as an adult I wrote several plays, catalogues of songs, and ultimately a library of feature screenplays. In more recent years I took to blogging, essays, and journalistic writing, all leading up to the fruition of a long-held goal to write a novel. My first, After The Sucker Punch, was self-published in May of 2014; my most recent, Hysterical Love, came out in April of this year.

Q: Are your novels inspired by real life events?

Both novels found their inciting incidents in real life events that led in specific narrative directions, but ultimately, and despite borrowing from my life, the people I know, or events I experienced or was aware of, I wanted the freedom of fiction to fully explore and imagine, so I veered off the path of real life to create the fictional worlds of my stories.

After The Sucker Punch’s spark came after I read a journal of my father’s years after he died, and discovered that, at the time he wrote it, he characterised me as a failure. I’d left home early; was independent of my family from nineteen-years-old onward, so reading my father’s words those many years later pinched my heart a bit, but they didn’t shatter me. It was when I talked about it with a women’s group I was in, and saw the emotional reactions amongst the various woman, that I realised this storyline had the depth to translate into a novel. From there, I interviewed several men and women on the topic, grabbed a few compelling elements from my own life and family to inform the narrative, and went off to create Tessa Curzio, her family and friends, and her roller-coaster journey from the point of reading her father’s journal on the night of his funeral, to the year of emotional angst and reconciliation that followed. I had great fun creating that world, and the humour and drama of the story does, I believe, serve the initial plot well.

Hysterical Love’s inspiration had a similar trajectory: A friend of mine, while nursing a broken heart after being dumped by his fiancée, found evidence of a pre-marital relationship of his father’s. The story intrigued him and, caught in the midst of his own romantic turmoil, he became convinced that this mysterious woman would have changed his father’s life for the better. The guy became so obsessed by the idea that he found the woman’s number in his father’s records and actually called her. Can you imagine? When a woman answered the phone, however, he panicked and hung up without a word. And that was it; that was the end of his story; he dropped it from there. But I thought: what if the guy didn’t leave it there? What if his obsession was so strong he actually hit the road in search of this woman, certain she somehow held the answers to all the questions of love? With that, the story of Hysterical Love emerged and I took its wild ride. It’s a funny, poignant exploration of family, love, and all the bits and pieces in between, and both men and women will likely see parts of themselves reflected in the journey.


“Four factors mark Lorraine’s brilliant debut as something special. Firstly, her characters. Each so individual, so distinctive and so well defined, you can tell who is talking without the character being named. That’s no mean feat. Secondly, the dialogue is crisp, sassy and real, patter so realistic, you can hear it taking place. Thirdly, the way Lorraine links and merges the historical comments Tessa reads in the journal into the real time narrative is shrewd and repays rereading. Then, finally, there is Tessa herself, the novel’s protagonist. You may not like her – two days after completing the novel, I am completely ambivalent about her* – but she is real and you can follow her train of reasoning at all times.” (Taken from a review on Look inside or buy After the Sucker Punch: a Novel

Q: At what point in writing the books did you come up with their titles?

The title for After The Sucker Punch came well after the book was done. I originally had another title I liked a lot, The Pros and Cons of Neighbours, but various mentors commented that it was too long and, additionally, might suggest non-fiction. After much thought, and a great many ideas thrown my way, I looked at the gist of the story—a woman’s emotional and existential journey after finding out her father thought she was a failure—and came up with After The Sucker Punch. It felt perfect.

Hysterical Love took a more circuitous route. I’d originally written the story as a screenplay called The Last Woman on Earth. When I discovered both the infamous Roger Corman and a small indie filmmaker were already using that title, I changed it to The Theory of Almost Everything. Lo and behold, as I was adapting the novel in fall of 2014, the Oscar-winning film, The Theory of Everything, came out and it was clear I’d once again been title-trumped! It was while I was doing a final polish on the manuscript that one of characters came up with his theory of “hysterical love,” and that popped as the perfect title. It suggests humour, I think, which is a strong element of the book, and perhaps some deeper perspective, also a factor. Mostly it’s evocative and somewhat whimsical, so it hit the mark for me.

Q: Was it your intention to write a story with a message or a moral?

I just read an interesting piece of yours, Jane—“Literary Fiction – Isn’t it all just clever marketing?”1—and was struck by a quote within: “As John Gardner wrote in The Art of Fiction: ‘I don’t want to be lectured, have issues thrust down my throat or, dare I say it, be called upon to admire the beauty of the language.’” That’s a provocative statement, and it struck me in terms of how I approach my own work, particularly as related to the issues of moral or message.

First of all, and this actually is part of the answer, I’ve always been a reader who likes an ending. A true conclusion. Some summarising thought, idea, message, hope, that gives me, the reader, a sense of closure and satisfaction after reading a story. And if there is something to be learned or gleaned from that conclusion, or the narrative leading up to it, all the better. Like Mr. Gardner above, I don’t want to be proselytised or preached to, but I do happen to enjoy digging into deeper themes.

So it stands that, as an author, I would write in a more thought-oriented tone and style. I love the power of humour and use it liberally, but I also want to leave readers with a sense that something deeper has just been explored: ideas, events, life experiences that strike chords, prick emotions, and provoke thought. Not didactic pontification; I’m not preaching or espousing any particular theocratic, political, or cultural thesis, but I do go deep to examine the lives and introspections of my characters…it’s possible a little inspiration might eek out from time to time!

I had a male reader of After The Sucker Punch write me, “this book is going to help me in my lifelong quest to understand women.” I was thrilled, not because I ever had that grandiose a goal, but because my creative meanderings offered some fellow insight on the women in his life! I’ve had similar comments about Hysterical Love. It’s written from a man’s POV and, as such, shares insight into the male perspective on themes of love, heartache, family, and how we sometimes stumble and fall in our quest to find happiness. Men have told me they see themselves in the main character; women see the men they’ve known. Ultimately, my goal is to tell stories that entertain and intrigue, while shining a little light on the human experience along the way.

Q: You have a short story in your catalogue; what do you think are the specific challenges of writing with a shorter word-count and do you stick to the rule that there must be a twist at the end?

Well, the most obvious challenge is figuring out how to tell your whole story, beginning, middle and end, within a very limited scope. But as one who’s written songs and screenplays, both of which come with strict formatting protocols and tight word-counts, I have a certain facility for those limitations…despite the fact that I struggle trying to keep my emails concise! Short stories are like puzzles, to my mind: you’ve got this pile of ideas and they all have to fit within a specified framework, in their exact right spots in the narrative trajectory. The plot of my short story, She Tumbled Down: a short story , as with my other books, was inspired by a real life incident, and was indeed a puzzle. After a hit-and-run accident occurred in my neighbourhood, I’d regularly walk past the street memorial and think to myself, “Who could do such a thing? Hit someone, then just drive away?” It was such a confounding query, I decided to explore it in short story form. I considered the novel format, but ultimately felt it lent itself more to the shorter telling, exploring the ripple effects of hit-and-run over three years, interweaving between the various parties involved.

As for a twist, yes, it has one! Actually, I think both short stories and novels benefit from twists. I don’t think it has to be exactly at the end, but at least somewhere in the third act, propelling you forward to the end. In She Tumbled Down, there is definitely a reveal that incites a suspenseful run-up to the conclusion, and I think the device is a good one. But, really, being unpredictable—in either novel or short form—is an essential part of all good writing. I’m disappointed when I can predict every turn, every character move, right up to the denouement. Give me something that surprises me; trip me up, throw a red herring, cause me to ponder, prick my sensibilities!

She Tumbled Down_JD

                          “This is a great read that packs a punch. Highly recommend.” She Tumbled Down: a short story

Q: Willa Cather said, “There are only two or three human stories and they go on repeating themselves.” How, then, is it possible to write something unique?

Actually, I think a better rendering of that adage would be, “There are only two or three human themes…” and, even then, I suspect there are more than two or three!

There are a handful of universal themes such as seeking love, war and peace, pursuing dreams, defending family, etc., that have formed the underpinning of literature from time immemorial. But stories? They’re as plentiful and unique as the number of people writing them. You could give ten different people the same prompt and you would end up with ten very individual narratives. Because we each view life through the filter of our specific experiences; our DNA, our worldviews; our propensities and predilections, and we envision our stories through those particular prisms. While certainly lesser writers may tap universal themes in ways that are banal and clichéd, skilled writers infuse them with color, nuance, unique perspective, and the sheer individuality of their voice, their imagination. I have no concerns that we humans will run out of unique stories; while there will always be the mundane and predictable, I have faith that the excellent writers in our midst will always tell their stories with depth and originality.

Q: Do you feel under pressure to make your main characters likable?

No. My only objective is to make them real and human, so it follows that some of them may be unlikable…or at least flawed, fumbling, and occasionally misguided! My stories encompass a wide spectrum of events and emotions, so the characters involved are as diverse and complex as any set of human beings. I’ve had readers say they found Tessa, the protagonist from After The Sucker Punch, maddening; “I wanted to shake a finger at her,” one of them wrote. Which is entirely understandable, given the roller coaster ride of her story! A reviewer of Hysterical Love said she wanted to “jerk a knot in Dan’s tail,” while another found him “exasperating.” But even with those comments, what typically follows is understanding that these stories embrace both the wonders and fallibilities of being human…which means we may not like all the characters, but we will surely recognise them!

Q: How would you define the pros and cons of self-publishing?

The obvious, most salient, pro is simply a writer’s ability to get their work out there. Into the marketplace. Immediately. That may not seem so monumental to the uninitiated, but for those who’ve spent years trying to accomplish the goal, it’s huge.

I’ve not had the opportunity to experience a traditional publishing deal, so I can’t speak to that with any authority; my only experience is how hard it is to get one! I didn’t leap into the book world until after the tech revolution had evolved, after e-books had been invented and Amazon created a platform for independent writers to publish their own work. Prior to that, I’m told, the formulas in traditional publishing were different, maybe less exclusionary, but as they’ve adjusted to technological changes, the “way in” has become more and more selective, which means just being an excellent writer with an excellent book has no specific currency in this market. More important is having connections, a big platform, a trendy genre, or one of the other mysterious characteristics that breaks a book and author through the gates. Given that gauntlet, serious writers committed to their work have celebrated the opportunity to pursue another route in: self-publishing.

So that’s the first pro. The second: a writer’s autonomy. I’m an experienced artist in a variety of mediums and have taken a hands-on, independent approach to all of my creative endeavours over the years. Which means I have a level of experiential know-how, and I’m very picky about how my work is presented! When I first started as an author, and my approach was towards traditional publishing, I was told that if I got a deal (a very big if, I was warned), I’d have to forego control of my final edit, my cover, my title, even my marketing plan, and that pretty much terrified me. I did want the heft and clout of a publisher to help advance my career, but I also wanted to write and produce my books the way I wanted, certainly one of the headiest perks of being an indie artist. And self-publishing gives you that power. And responsibility. You have to pay for it; no one hands it to you, but with the right cover artist, the right editors, formatters, and proofers, you will end up with exactly the book you want… and that is worth a lot to me.

The cons of self-publishing are focused in two places: the stigmas attached, and the challenges of marketing. We’ll start with the stigmas: The unfiltered, uncurated nature of the self-publishing platform means anyone can put up a book (and hundreds of thousands a year do!). No gatekeepers are there to quality-check those books to make sure they’re expertly written and professionally edited, formatted, and designed, and some seriously rough books have hit the marketplace, often at saturating levels, making it harder for good work to be found in the glut. This has created a degree of ill-will amongst reviewers, media, and book bloggers who see the self-publishing industry as largely filled with amateurs with visions of grandiosity. Despite the counter-balance of many excellent, exemplary authors putting out books that could rival any by traditionally published authors, certain reviewers won’t consider self-pubbed books from anyone; certain contests refuse their submissions; even certain indie book stores put up a fuss about stocking them. Top media is harder to get and generalised stigmas impact the overall view and status of any self-published author and their work. Well, maybe not the big, famous one, but certainly the unknowns. Which is, of course, unfortunate and unfair.

Lorraine MeetingReaders_JD

But still…our community is complicit in this. Even as a reader, I’ve taken a great many chances with self-pubbed books and, while some have been excellent, too many have been sloppy and unprofessional. We can argue that there are plenty of crappy books put out by big publishers too, but that doesn’t change the impact of those elements in our own community. A philosophical change within the community is beginning to happen, and it must continue, a zeitgeist that expects a uniformly professional level of work, a bar set high for everyone involved. Let’s see if that eradicates those stigmas over time. I’m certainly hope so.

The second con is just the sheer volume and demand of marketing and promotion. It’s a beast, no getting around it. A lucky few self-published writers have hit the jackpot, gone viral for one reason or another, but for most, what sales they glean take a LOT of work, requiring creative, effective marketing on a relentless basis. That takes money, diligence, and a willingness to explore innovative ideas that go beyond social media. But given that most self-pubbed writers have no practical experience in marketing and promotion, the learning curve is fierce, and mistakes like bombarding Twitter with “read me!” posts, engaging in ethically-challenged review swaps, and wasting time on Facebook threads overhyping your own work can become counter-productive. Authors have to educate themselves; research ideas, talk to others with successful marketing plans, and be clear that they’re a business, not just a writer, and therefore obligated to handle business like a pro. It can be daunting, but it can also get your blood pumping! Learning how to capitalise on solid branding for both your work and you as an author, in ways that are effective enough to reach new readers, can ultimately be an educational process you’ll enjoy and use throughout your career.

Q: Do you notice if the book you’re reading is traditionally published or self-published?

No. I buy books based on descriptions that intrigue me, and covers that are professionally designed (usually a good litmus test of a professionally rendered book). I don’t particularly care how they were published, though sometimes I’ve gone back after I’ve read a book to make note for one reason or another.

Q: Do you prefer e-books or ‘tree books’?

I publish my novels in both formats (my short story is exclusively in e-book), and I read in both formats, depending on availability. But over the last couple of years I’ve grown to love the ease and immediacy of my e-reader. I travel a lot, and used to lug around a big, lumpy book bag, often a challenge when flying, and the first thing I grew to cherish about my Kindle was its ease of travel! The next was the immediacy of hearing about a book, or, say, getting a recommendation during a phone call, and being able to have it on my reader before I’m even done talking. I also appreciate the size and weight of the reader; it’s comfortable to hold in even the most pretzeled and tight of quarters.

I do have affection for the artform of a tangible book: the cover art, the fonts, the paper; the sense of heft. But I do see it as artform: nostalgia, certainly when looking through old books; lovely for book shelves, as conversation pieces; convenient as something to page through while waiting in someone’s office or library. Children’s books with their glorious illustrations must be in tree books; any book that relies on art, illustration, or photography must, as well. And certainly I have print copies of both my novels and love holding them, feeling the cover and paper, and enjoying their tangible presence as a beautiful thing. But still…

As a reader, I have found no loss of enjoyment with e-books. It’s all about the communication, the story; what happens in my mind, my imagination; my emotional centers. The medium is less important.

Q: Who designed your book covers and what brief did you give them?

I am fierce about the quality of my covers, believing that a cover makes or breaks the first impression of your work, so getting it right is non-negotiable. I’m very fortunate to have a brilliant graphic artist in the family, my sister, Grace Amandes2, and she designed the covers for both my novels (I designed my short story cover). Given that I’m also a professional photographer, and happen to love book covers that use photographic art, our designs would start with me getting her photographs of mine that I felt best illustrated the tone and sensibility of the book, and she’d take it from there. For After The Sucker Punch, I gave her five photographs that were possibilities, and she created designs for each, with specific fonts, art placement, front, back, etc. We then honed it down to the images we ultimately used, and she finished the artwork. With Hysterical Love I only sent her one photograph: the ice cream truck. It’s a favourite of mine, and an image that is not only iconic and eye-catching, but perfect illustration of one of the book’s through-lines. I love the fonts and colours she chose, and the way she wrapped the photo around the book. She does excellent work and her contact info is below.

Hysterical Love_JD
“Mining similar ground as her first novel, the sweeping (yet claustrophobic) family sagas of the seventies, with elements of Terms of Endearment, Steel Magnolias and Green Fried Tomatoes added into the broth for good measure, Hysterical Love deals with a quest, a quest bordering on obsession.” (Extract from Amazon reader review.) Hysterical Love: a novel

Q: According to Neilson, the price that American consumers pay for printed books has reduced by 40% since 2009. How do you tackle the thorny issue of pricing?

Book pricing is a thorny issue for me, one the entire indie community ought to rethink. I’ve actually written a few articles on the topic (go to my book blog3 if interested), so baffled by the prevailing “think.” I understand the notion of “giveaways” for very limited periods of time; I understand the notion of keeping prices relatively low as a new author looking to attract new readers, but when the cultural zeitgeist suggests that books don’t warrant pricing commensurate with the expertise and artistry that has gone into them (most of them), I’ve got a problem.

When I published my first book in May of 2014, the trend was to go with KDP Select and run “freebies” and “deep discount” promotions as a way to raise rankings and, hopefully, score readers who would come back to buy your other books at higher prices. But as time and trends will do, this strategy peaked, and has recently been less effective. Surveyed readers admit they often don’t read books downloaded for free, they don’t come back and leave reviews, and since they didn’t read the book, they’re not impelled to come back and purchase the author’s other work. Objectives not achieved.

There is also the issue of “perceived value,” the marketing formula whereby culture sets the value of certain commodities, whether a prized painting that goes for millions, or a star athlete who breaks the cap. Perceived value is arbitrary and often misguided, but perception is all that matters. So, into this equation we’ve allowed the market to determine that our books are worth a dollar, two dollars; even nothing, and, as expected, that incredibly low bar has conveyed the idea of little perceived value. I’ve priced my books, in both formats, somewhere between that and what traditionally published writers are charging, and still I have people mentioning how expensive they are. I’m sorry, paying seven or eight dollars for an e-book, twelve or thirteen for the print book, of a thoughtfully rendered novel written over years and polished to a spit shine by professionals, is not out of line. Particularly in a culture where daily lattes and nightly cocktails cost more by a long shot! Even a movie ticket is twice or three times the price of the average e-book! Somehow writers and books got short shrift on this issue and writers have let it happen. The proliferation of sites touting “free books!!” is astonishing and horrifying (see my article titled “I’m Not Interested In Free Books”4). The “new democracy” managing our various cultural mediums does have its advantages, but when it works to devalue the bone fides of journeymen artists and true creatives, it has also become counter-productive.

Q: Do you post reviews? And, if so, where? What do you think makes for the perfect book review?

I do post reviews frequently. Not for every book I read; sometimes I’m not inspired to do so, but particularly for indie authors I’ll take the time to leave reviews at Amazon and Goodreads. I don’t believe in annihilating anyone, so if I can’t leave a 3-star or better, I don’t leave anything. I share my opinion of the book’s high points, what stood out to me, any quirks I tripped over, always careful to avoid spoilers while conveying perspective to another reader.

I am ethically opposed to review swaps or any situation in which quid pro quo is attached to reviewing. Personally, I even find it challenging to objectively review books of writers with whom I engage in online writers groups; it’s hard to be candid with people who are “liking” your comments on regular basis! I honestly believe the trend in places like Goodreads and Facebook to offer “swaps” has not only corrupted the process, it’s put readers at a disadvantage, particularly when manipulated 5-star reviews lead them to books that are ultimately disappointing. It also creates false advantages for writers willing to participate in the practice: they end up with hundreds of padded reviews, while more ethical authors struggle with far fewer.

The only review that should matter, the perfect review, is an authentic, unsolicited, honest review from a reader moved enough by your work to take the time to sit down and say something about it. Good or less good. Anything else is meaningless.

Lorraine book display_JD

Q: “They really are evil bastards,” Anthony Horowitz, has said about Amazon. “I loathe them. I fear them. And I use them all the time because they’re wonderful.” Where do you stand?

I use them all the time!

I understand why book stores and small businesses “loathe” them; they’ve profoundly changed the model of how people shop and where they shop, and that’s had tremendous impact. But, as with all evolution, it’s the fittest, most adaptable, who survive. Every innovation, every new technology, has made something else, some other business or technology, obsolete. But we don’t stymie progress and innovation out of pity for the status quo. Culture, business, people have to adapt. Book stores have to adapt. They can loathe Amazon all they want, but perhaps a wiser course would be to seek out new ways to appeal to the book-reading public; think about what added-value they can offer to make their more expensive books appealing.

Instead, I’ve had three different “independent” book stores up and down the coast of California refuse to stock my books—even though they’d be dealing directly with me, with no contact with Amazon— simply because they so hate the behemoth, they’ll refuse to work with any author getting paperbacks printed by CreateSpace. How small-minded is that?? Instead of gaining the collaboration and support of indie authors who’d promote their store and bring in new customers, they’ll shut them out in a punitive effort to show their anathema toward Amazon. That is not progressive thinking and it’s not going to solve the problem; if anything, it’s going to antiquate them sooner. On the other hand, I’ve stocked my books and am doing readings in two other indie book stores that don’t give a hoot who prints my books; they just want quality work, and choose to support the indie community without restriction. That is how you help solve the problem, because it’s embracing and adaptive, and offers a welcome mat to writers and readers who just might help expand their business.

Amazon is a great many things, good and bad, but it has been one of the most influential and career-altering opportunities for writers who, prior, had been systematically excluded from the world of professional publishing. For that reason alone, they deserve the respect and accolades of readers and writers worldwide.

Q: What advice would you give aspiring writers?

Actually, my advice would be useful for any writer, I think, aspiring or otherwise: After honestly learning the craft, gaining useful experience, writing the best manuscript possible, producing a professional book, and implementing good marketing strategies, step away from the desk, shut down the computer, and go enjoy your life. Help other artists. Take a walk. Travel a new neighbourhood. Learn a new skill.

That may seem a strange prescription, but I see far too many writers get so wrapped up in their process—angsting over word count, suffering with their edits, tallying the number of reviews they’ve gotten, chattering about sales numbers, obsessively checking their daily stats (one writer I know checked her Amazon graph every hour!)—they lose perspective of the journey, the pleasure inherent in the act of writing; the small but meaningful successes along the way, the satisfaction of helping others.

Ultimately, much of what happens in the business end of things is out of our control; we can do everything right and still not crack the code! So it becomes all the more essential to pay attention to things you can control, particularly as related to enjoying the creative process. Without that, balance gets lost; it becomes too much about stress, frustration, and competitiveness and, really, where’s the fun in that? And, frankly, a life in balance makes you a better writer: you’re more attentive to the world and people around you, more aware of interesting events and compelling issues, more open to opportunities, creative and otherwise. All of that adds to the experiential palette from which you dip as a writer. So be positive, think and speak good thoughts, surround yourself with energetic, optimistic people, help where you can, and enjoy every minute of your creative experience. That, really, is what it’s all about.

Thank you so much for being such a great guest.

Thank you so much, Jane, for inviting me to share my thoughts on this industry of ours. I look forward to connecting to your readers, and wish all the best to my fellow writers out there in the creative trenches! For those interested, the easiest way to access any and all of my work is via my website, and since I’m selling my books on both Amazon and Smashwords, those links are also below.

Best to you all,

Lorraine Devon Wilke


1 “Literary Fiction – Isn’t it all just clever marketing?”

2  Grace Amandes, book cover designer      

3 Book Blog  

4 “I’m Not Interested In Free Books”

Want to find out more about Lorraine? 

Visit her website, her Amazon Author Page , find her on Smashwords , ‘like’ her on Facebook,  follow her on Twitter, and here she is on Goodreads.

She invites you to access an archive of her essays and journalistic pieces @

You can follow her “adventures in publishing” at her blog,

One comment

  1. Thrilled to participate in the “virtual book club” of an author whose work I’ve read and loved! Thanks for having me, Jane; you asked great questions I was happy to answer. Look forward to connecting to your readers!

    Comment by Lorraine Devon Wilke on June 17, 2015 at 2:20 pm