The cover for book 3, Return of the Unicorn, is made by Nancy Batra.
The book, “Writing into the Dark” by Dean Wesley Smith, had inspired me to write down my way of writing.To start a project
I usually start out with an idea, a working title. This idea has an etheric, but dormant counterpart. As I start to put words, usually the title, to my manuscript, the idea becomes active. This creates a sparkle of consciousness in the imaginative realm. This is actually how all creations starts.
I may use some time trying out different fonts that might suit the title. In this way, I softly blow to the amber, being the sparkle of consciousness, and other ideas are being attracted to the sparkle from the vast soup of possibilities.
This is an intuitive, non-mental way of writing. My mind does not create the story and are often surprised, even perplexed about what is being put into the manuscript.
The sparkle becomes a light while more ideas are drawn into it. Characters emerge with their own personalities and especially the first contact are very special. Again, it is not a mind thing, but a heart thing. I connect and feel the character. Sometimes I know (like in knowingness which again isn’t a mind thing), that the character is there, but it takes some time or the right conditions on the plot, before the character open up and join the plot. It is quite fascinating.My way of writing
Imagine a dead tree trunk without branches lying on the forest floor. It has two ends, but let one of them being a start. When I write something, anywhere in the story, it’s like planting a flower seat somewhere on this tree trunk. I don’t know exactly where I plant it, and it might be moved to a different location later on.
I make chapters or headlines and sub-headlines along the way and everything can be moved or changed. I make extensive use of colour markings for different purposes.
If I am somewhere in the story that doesn’t seem to flow, it indicates, that I need to wait for the flow to this place or I could make another connection for a part that is ready to flow when I tap into it. You can imagine possibility bubbles coming floating towards the light. If they haven’t docked, they are not accessible.
I do a lot of research, including Google Earth, street view, 360-degree photos, videos, reviews and articles. I KNOW how the places looks like and views of non-accessible places are delivered from the ‘light’ with all human senses and more. The characters are known in the same way and with much more than there looks.
Some parts of a story have to be written my me, and I can clearly feel, when I, (and my mind) has to do the job ourselves; it’s a huge difference! There is usually no help to get…this is MY part, my responsibility.
The story is ready for proofreading when the light gives me the sense of it is ready.Genres
I have not been writing for share entertainment (December 2018). I write to show people sides of life that they might not know. Make them see, that they are more than just a human (in a hamster wheel).
I want to tell people that there is more to their human lives, well, that there is even more than the life as a human. I use fiction and fantasy to do exactly that.Writing style
I use present tense and mostly dialogs: “You’re pretty!” in contrast to: He said, that she was pretty.
My primary person (antagonist) is the first-person dialog, and I do not switch into other characters minds and feelings, they must show themselves through actions. This way, even my descriptions are presented in present tense in ‘dialog’ with the reader. In a sense, the reader and the ‘writer’ experience the story together. In a sense, the ‘writer’ does not know more than the reader.
I let my characters SHOW (by speech and actions) what they are instead of me DESCRIBING them (writing so and so).
I use all human senses in my descriptions when it fits in.
The Soul of the White Dragon is a vividly penned novel where the physical and the non-physical dimensions flow into one another as the protagonist explores new terrains in her life and also the edges of her consciousness. Through Luzi, we get to experience what everyday life in the midst of spiritual awakening looks and feels like. As Luzi becomes more familiar with her inner wisdom - often through the guidance of the white dragon and other etheric beings - her life transforms, reflecting her inner landscape. We get to see the joy that lies beyond a mentally constructed world: Another world, where imagination, magic, sensuality, and miracles are as natural as nature itself. A beautiful tale of dragons, elves and curious humans, especially recommended for anyone who's into spiritual awakening.
- Kim Seppälä, writer and consciousness explorer.
Luzi, working with two students on a project to discover true historical events, encounter this crimson dragon. It turns out that Shaumbra has quite a personality and together with the white dragon, Loong, the Elven woman, Josela and many others, they gain information about the past as well as the future. What they find is not common accepted, but it fits with hidden and even not so hidden knowledge dismissed by the established historical society.
My parents met in Hong Kong. My father is English, and my mother is Chinese. My dad was, and still is a businessman, and my mom worked as a skilled correspondent and a language secretary at my dad's workplace.
I was born in Hong Kong in 1989, grew up there and went to an English school for my earlier years.
I remember my childhood as a happy time. When one or both of my parents were not at work, they spend all their time with me, and later on with my younger sister Anna too. Anna was born when I was six, and now my mother chooses to stay home longer, and my dad brought her some work, she could do at home. I was at school most of the day, and Anna still had a nanny.
My parents always call me the light of their lives, which is why I was named Lucia, Luzi for short. Anna has got her name after our dad’s mother, Hannah. I once asked my parents, why I was not named, Anna, as I was the first born. They both said, “You were not an Anna; you're the light of our life!” After that, I have always been proud of my name.
We were quite wealthy, and the house we lived in was large and with a lot of room. It was an old bungalow applied from dad’s company. We could have had a more modern house, but we all loved the old house with the large garden and wouldn’t dream of getting something else.
Grandma, Hannah and grandpa, William had passed away before I moved to England. In my younger years, they were visiting us in Hong Kong, and later, when Anna was old enough for a long trip, we visit them in England. At that point, they had become older and more fragile, and the last trip they made to China was when Anna became a teenager. I remember Hannah and William as two very gentle and warm grandparents, always kind and with all the time in the world, never rushing and stressed.
I moved from Hong Kong to London in 2007, starting at the University in person. Earlier I have made some online courses but wanted to extend my studies.
I study history, prehistory with a particular interest in Marija Gimbudas’ research of old Europe, ancient cultures in general, ethnographical studies, literature and journalism.
As a source of income, I work as a freelance writer for magazines, papers and on the Web. In addition to that, I work as a copywriter, and as editor of books for the University, collecting data for professors and colleges and help them editing the materials. I also do some book writing, and it is more book writing than book selling, but there is nothing new to that.
As tools in my work I use a smartphone, but while working, I turn off all private messages since they are a huge distraction and significantly reduces my productivity and efficiency. I do not want to be a slave to technology; it has to work FOR me. I do not use games or music on my phone to distract me and cover my thoughts, to me it is pollution. I listen to music in my home for enjoyment, not a distraction. You may shake your head, when I tell you, that I use a paper notebook as well. I use the camera on my phone quite often, a lot of the time to pick up text from various sources. I may use the voice recorder on the phone as well. When I have to write large volumes of text, I need to use a real keyboard, since I use all ten fingers. Otherwise, production will be too low.