Unfortunately, tomorrow’s planned author interview has been postponed but please see Bruce Olav Solhiem’s newest release in his trilogy.
The Final Book in a Trilogy of True Paranormal Adventures
Timeless Trinity is the completion of Solheim’s paranormal trilogy of true stories. Trinity goes beyond the first two Timeless books as it details the authors continuing contact with Anzar, an ancient alien mystic, UFO sightings, alien abductions, animal spirits, ghosts, hauntings, demons, an encounter with the infamous original American mass murderer Dr. H.H. Holmes, and concludes that the spirit world, the alien world, and the quantum world are all the same. Dr. Solheim’s Timeless Trinity is a personal glimpse into a truly paranormal life. Gary Dumm again provides the illustrations and world renowned hypnotherapist Yvonne Smith provides a foreword.
Breaks through as an Amazon Bestseller!! Released February 2020 The books are available worldwide across all platforms
Other Works In The Series
Timeless is the first book in the Timeless trilogy and documents 34 of the author’s paranormal experiences. Starting at age 4, Solheim has led a paranormal life and encountered angels, ghosts, demons, haunted houses, spirits of all kinds, cryptids, telekinesis, telepathy, and more. He is truly a paranormal lightning rod.
Solheim’s first Timeless book offered readers an entertaining chronological survey of his remarkable paranormal adventures. Timeless Deja Vu goes further and deeper with 31 more stories of the paranormal and supernatural where you will experience the impact of Solheim’s mediumship and encounters with spirits of all kinds, learn about a theoretical framework for understanding these phenomena, and even discover how aliens and ghosts have something in common. You will be introduced to his Nazi aunt, take a ride in his demonic car, meet his spirit animals, contemplate the wisdom of an ancient alien, and visit Elvis and John Wayne along the way. Dr. Solheim’s new book is shocking, revealing, inspirational, frightening, humorous, and thought-provoking. Gary Dumm again provides his superb illustrations. The Paranormal Professor strikes again!
We will catch up with Bruce at a later date.
Bruce is available for interviews, media appearances, speaking engagements, and/or book review requests – please contact firstname.lastname@example.org
The idea for The Inquirer came to me in line at the grocery store where the tabloids and gossip magazines are on display. I wondered what the featured celebrities thought of the headlines. What would my neighbors and I think if our local newspaper was publishing sensationalized articles about our love lives, blunders, and appearances? In The Inquirer, a mysterious tabloid starts airing the dirty laundry of a small town here in Alberta, and Amiah Williams becomes an unsuspecting feature.
How did you come up with the title?
The Inquirer struck me as the perfect title. It brings to mind the National Enquirer, which is the type of newspaper I want readers to imagine. And it represents Amiah, the protagonist, who is forced to dig into the twisted truth behind the tabloid and her past.
Is there a message in your novel that you want readers to grasp?
I hope The Inquirer entertains readers. On a deeper level, it explores different types and levels of stereotyping and gossip. Perhaps some readers will question what happens behind closed doors or think twice about when to speak up and when best to be quiet.
How much of the book is realistic?
It hasn’t happened, but it could, if that’s what you mean. I was surprised by how often I would come up with what I thought was an outrageous headline for the fictional tabloid and then something similar would happen in real life! Most often, I would then change the headline for fear that people would think it was based on them.
Are your characters based on someone you know, or events in your own life?
The Inquirer is fiction, but I feel like the characters are familiar and I have had readers say they have known similar sets of characters in their lives.
Where can readers find you on social media and do you have a blog?
Readers can connect with me on Twitter (@readjaclyndawn), on Facebook (@authorjaclyndawn), and at jaclyndawn.com.
Do you have plans or ideas for your next book? Is it a sequel or a stand alone?
I recently started putting on paper an idea for another stand-alone, fiction novel that has been percolating for some time. I don’t have an elevator speech quite ready yet, though.
Of the characters you have created or envisioned, which is your favorite & why?
I really like Ray Williams, Amiah’s dad in The Inquirer. He doesn’t fit his stereotype, buy into stereotypes, or give stereotypes all that much thought. I has a quirky sense of humour, and I wish I could feel as comfortable in my own skin as he does his.
Do you favor one type of genre or do you dabble in more than one?
I dabble in many genres as a writer and a reader. NeWest has called The Inquirer genre-bending but primarily markets it as literary fiction; it is located in the general fiction section of the library. I enjoy writing children’s stories, but so far that has been reserved for entertaining my son.
Do you plan your stories, or are you a seat of the pants style writer?
My story ideas have to percolate for a while. If I try to write or discuss them too early, the ideas fall flat. I have a general idea of what will happen before I start writing and will jot down notes I don’t want to forget, but the characters tend to take over and connect the dots from there.
What is your best marketing tip?
Embrace the digital age, including finding social media that suits you and your readers, connecting with fellow writers online, and participating in blog interviews like this!
Do you find social media a great tool or a hindrance?
Social media can help you reach a lot of potential readers and connect with fellow writers, but it can also be distracting and disheartening.
What do you enjoy most about writing?
For me, writing is cathartic and entertaining. It is a way to explore topics. I find myself asking the same two questions in most of my writing: Why do people do what they do? And, what if?
What age did you start writing stories/poems?
I have been writing stories for as long as I can remember, and telling them even longer according to my parents. You would probably be rich if you got paid a dollar for every time you’ve gotten a variation of that answer!
Who is your best supporter/mentor/encourager?
I consider myself lucky that this is a difficult question to answer. However, to keep it brief, I will just mention the two I live with: my husband and son. Logan makes sure when I get too grounded that I get my head back in the clouds and write. And Seth’s teachers and coaches knew about The Inquirer before the publisher’s catalogue even came out.
Where is your favorite writing space?
The space in our house that the previous owners called a dining room is my library, with shelves of books and memorabilia that has more personal than monetary value and the writing desk my husband refinished for me for one of my birthdays. I call this my writing hub because I come and go with my notebooks, scraps of paper used when inspiration hits at inopportune times, and laptop. I find myself writing for snippets of time everywhere I go. If I was limited to a traditional work space, my creativity, efficiency, health (migraines), and – I admit it – mood would all suffer.
Do you see writing as a career?
With a Bachelor of Applied Communications from MacEwan University and a Master of Creative Writing from Manchester Metropolitan University, I have made a career of a combination of writing. I taught at MacEwan and NAIT, work with my Scriptorium team, and am now also fulfilling my childhood dream of seeing a book of my own in the bookstore and library.
Do you belong to a writing group? If so which one?
The Inquirer was originally my MA dissertation, and involved being part of a writing group. Otherwise, I am not part of a formal group but have a growing and much appreciated network of fellow writers.
Do you nibble as you write? If so what’s your favorite snack food?
My writing times and locations vary, but I will never turn down popcorn.
Jaclyn Dawn grew up in a tabloid-free small town in Alberta. With a communications degree and creative writing masters, she works as a freelance writer and instructor. She now lives somewhere between city and country outside Edmonton with her husband and son. The Inquirer is her debut novel.
Without characters our stories would have no real impact on our readers. We write to engage and intrigue them and hopefully make our protagonist the character our reader cares about. If your experience is anything like mine, there is usually one, or possibly two characters, that make their presence known in no uncertain terms. They want the starring role in our narrative. These characters are usually more defined in our minds and are ‘easier’ to relate to, whether because of a personality trait or that they are more fun to write. When creating the protagonist and antagonist in our stories, we give each opposing views and/or values. This is the basis of the conflict that carries our readers along their journey. Each character, whether major or minor, needs to have flaws and redeeming features, motivations, expectations, loyalties and deterrents.
This leaves us with the problem of developing our supporting characters with as much attention to detail as the main antagonist and protagonist. When creating characters we must remember to ensure that each character acts and responds true to their given personality. Character profiles are a good way of ‘getting to know’ our characters, this can be achieve mainly by utilizing character’s names, personality traits, appearance and their motivations. A name is a vital part of creating a mental image of our character for readers. The right name can give them a quick visualization of our character’s age, ethnicity, gender, and even location, and if we are writing a period piece, even the era. For example if I say the girl was called Britney, you would probably picture a young girl because of the association with Britney Spears. However, if a female character were called Edith or Edna, you would imagine someone born several decades ago. So you see a name is not just a name.
A burly man would be called something like Butch but not Shirley, unless of course you are going to tell the story of his struggle throughout childhood to overcome the name. There are plenty of web sites available, which list the most common names for each decade and locations around the world. These are great resources for writers, who require particular names for period stories or want to stay true to a certain decade.
The use of a nickname will also give your character an identity, be it an unkind one given by a bully or one of respect or fear for the bully. You would expect Big Al to be just that, a large person, however, Little Mikey would be the exact opposite. Nicknames, or sobriquet’s can work very well in defining an ethnicity as well but care must be taken not to offend a person of color. Obviously there are certain words that were in common usage decades ago that are not politically correct now, so we need to be diligent in their use.
We should also consider giving our characters a conscience. Will the hero question his actions if they are extreme to his morals? Does the villain have a deep-seated angst? What motivates them? Some flawed characters can be difficult to write on occasion as they are far removed from our own personality (well I certainly hope so!) but with care we can accomplish a believable character.
How do you set about building a character?
Do you write out a full description of your characters?
Have you based a character on someone you know, a famous personality or mixed up several people’s traits to make a new one?
The Group of Seven Reimagined: Contemporary Stories Inspired by Historic Canadian Paintings is at once artistic and literary. This anthology is a gorgeous testament to the Group of Seven, through the unique lens of twenty-one acclaimed flash fiction writers. – Each flash fiction story, (a brief, condensed, though fully realized narrative, written in under five hundred words), is paired with a lush full-colour reproduction of the painting that inspired it, showcasing both Canada’s historical artistic oeuvre with its contemporary literary artistic talent.
Where did the idea for this book come from?
The impetus for this book began as a writing prompt. I am always looking for interesting, layered prompts: a phrase, paradox, scenario, image, to inspire and formulate a story around. I happened to be walking my dog along Vancouver’s Jericho Beach early one frigid but bright wintery morning and was struck by the awesome beauty of the snow-peaked North Shore mountains looming across that stretch of ocean. I imagined that Lawren Harris would have wanted to paint that stunning vista, and in that glance, had the inspiration for my story. – It was only later, when conducting background research for my piece that I learned that the one-hundred-year anniversary of the Group of Seven was coming up in 2020. – A light bulb went off! The anniversary presented a wonderful opportunity to celebrate the enduring genius of these painters, in story. I contacted fellow flash fiction writers with the idea of putting an anthology together inspired by the landscape paintings of the Group of Seven and the enthusiasm for this project was immediately infectious. I wanted to put together a book that would both increase the profile and expand the reach of these iconic Canadian painters, while at the same time introduce art lovers to the marvels and delight of flash fiction.
Why flash fiction?
Flash fiction is the hottest rising literary trend in Canada. It is my current obsession. I have been on a maelstrom writing flash for the past three years. Each miniature story (flash fiction) is a delicious morsel, the flavours exploding with each bite. For me, flash fiction (always written in under 1000 words, and usually in under 500) is storytelling at its best. It draws the reader into another world engaging her in an immersive, evocative, and emotionally resonant experience, albeit for a brief moment in time; ‘for a flash’. Each miniature story is meant to delight, surprise and challenge the reader. There is often much hidden in between the lines and white spaces inviting the reader to return again to discover more in the layers of the story. And while each flash fiction takes only a few moments to devour, each story takes much longer to ‘perfect’, requiring a practiced skill in crafting, sculpting, editing, and polishing. I love the challenge writing flash poses, and the sense of satisfaction in completing a layered piece with a beginning, middle, and end, in a relatively short period of time. Relatively short compared to that of the traditional short story of 1500-3000 words, novella, or novel (which can take years to realize). The Flash Fiction community of writers and readers across Canada is exploding. Canadian literary magazines, journals, and anthologies now publish several flash fiction pieces in each issue, and flash fiction workshops and classes, both online and in house, can be found everywhere. I find this so exciting!
Why the Group of Seven?
When I first saw a Group of Seven painting, a Lawren Harris, I was gobsmacked. A stunning mountain carved like folds of butter, light cascading down upon its peak, pure and ethereal. I was immediately transported, somewhere deep, sublime, and otherworldly. My love affair with the Group of Seven began in that moment. As a university student living in Toronto in the 80’s, I had the opportunity to visit the McMichael Gallery in Kleinburg many times. The McMichael Collection even then, was remarkable and awe-inspiring. Over the years as I have discovered more of the Group’s landscape paintings in galleries, museums, books, and on-line. They have captured my imagination and heart for all these many years, transporting me into the story of the canvas and beyond. – I was inspired and driven to realize this book in celebration of their enduring genius.
How did you decide to pair the Group of Seven with Flash Fiction?
For me the match is made in heaven! The paintings are immediately perceived as storied, and the flash pieces are beautifully written, as if a painting. Both image and story invite the reader/viewer into another realm; a place of deep resonance and wonderment. Each read of the narrative, when paired with the layers, shadows, and textures of the landscape painting, becomes an immersive experience.
Each Contributor chose a landscape painting that inspired them, from a selection of Group of Seven paintings. Works by Tom Thomson and Emily Carr, both contemporaries of the Group, are also included in the book.
Who are the Writers/Contributors in The Group of Seven Reimagined and how were they selected?
Most of the Contributors are award-winning short story authors, several times over. They come from all regions of Canada, from coast to coast to coast, and three from the US, the UK, and AU, each with a distinct Canadian connection. I felt it was important to invite writers from across Canada who I thought would present a varied, distinct, and unique voice, and, be expert at crafting a miniature work of fiction. While Canada has so many brilliant short story writers, writing flash fiction presents unique challenges, i.e. excellent editing chops and concision, not every short story writer is comfortable with or interested in exploring.
I am a voracious short fiction reader. I read as many short story collections, journal, magazine, and anthology short fiction pieces as I could find, looking for a range of style, genre, and voice. Above all, I was looking for writing at a level of excellence. And of course, I found brilliant storytellers, and was excited by so many extraordinary works of fiction. It was also important that each person I invited to participate be more than enthusiastic about celebrating the Group of Seven and be inspired by their paintings.
I am thrilled with each of the writers selected. Mike Blouin, Carol Bruneau, Paulo da Costa, Alfred DePew, Tamas Dobozy, Valerie Fox, Travis Good, Mark Jarman, JJ Lee, Brett Loney, Lorette C. Luzajic, Yael Eytan Maree, Michael Mirolla, Isabella Mori, Nina Munteanu, Waubgeshig Rice, Robert Runté, Nina Shoroplova, Mireille Silcoff, Mary Thompson. Each one a consummate professional and joy to work with. Each writer has selected a gorgeous Group of Seven painting to inspire their story and each has contributed a marvellous flash fiction piece. The results and pairing are stunning. In addition to being the editor, I also have a flash fiction piece in the book.
Where did you get your training? How long have you been writing flash fiction? Have you always written, have you always wanted to write?
I think my path to becoming a writer is rather unique. I was sixty-two before I wrote my first story, ever. And I will be sixty-four before this book is published. I have never written fiction before. Never even tried. My writing up until very recently has been academic and analytically focused. I had done some journal writing intermittently as process-writing, but that’s it. Back in high school I wrote my final English exam interpreting a poem about the Tree of Life, referencing photosynthesis/ chlorophyll / life cycle / and the ecosystem. I was clearly off the mark. Words and imagery, conveying personal experience through metaphor or simile was not my forte, comfort level, or inclination.
Since beginning to write fiction three years ago, I have been published in twenty-five international literary journals, magazines, and anthologies, and have more in the queue.
My training is in Psychology. I am a seasoned Family Therapist. Decades of ‘being fully present’ in the therapy session has made the transition into writing surprisingly seamless for me. As Pulitzer Prize winner Robert Olen Butler describes, ‘writing takes place in the Dreamscape’. Being fully present in this ‘Place of Solitude’ is where writing is best explored and fashioned. I enjoy this space. It is where I am most myself. And it is where I create from.
I discovered flash fiction reading journals and magazines online. There is a dynamic global flash fiction community. I read flash fiction journals regularly and enjoy discovering new writers (new to me) – the talent out there is magic. I quickly found online workshops teaching flash fiction and have participated in many three-day, ten-day, and monthly workshops, and continue to enrol in one every month or two. The workshops are lots of fun, generative, and attended by highly creative, respectful, and generous writers. I’m totally hooked.
What do you enjoy most about editing?
Cultivating a relationship with the writer is a must for the editing process to be successful.
Pulling back to the barest of form and arriving at clarity is what motivates me in editing. I love the process. Finding increasing precision in word choice is my kind of fun. I delight in the concision, word craft, play, and intentional word choice used to create imagery that resonates and evokes an emotional response in the reader. My tool is a thesaurus. I clean up a piece to reveal its essence, letting it take center stage and shine. Presenting a re-configured or revised passage to a writer who chooses to accept it, is the ultimate satisfaction for an editor.
I have a lot of ideas, although only two have reached the planning stage. 1. A flash fiction anthology similarly structured to The Group of Seven Reimagined, ekphrastic writing, – flash fiction inspired by visual art. This time showcasing the surrealist and magic realism artists Leonora Carrington, Remedios Varo and Kati Horna. and 2. A collection of flash fiction, all my own pieces.
I am exploring how to approach this next project differently. It has been enormously expensive to put this book together. The cost of permissions and licenses from Art Galleries, Museums and Estates to use hi-res reproductions of the paintings in the book has been almost prohibitive. This expense comes out of the author’s / editor’s pocket; the publisher does not absorb this cost. Having a sponsor/corporate interest would help move this next project forward. It is something I’m looking into.
The Group of Seven will launch in Vancouver in October, and in Toronto in May – details on Vancouver and Toronto launch coming soon – if you would like to receive an invitation to attend either Launch party, send an email to email@example.com with ‘Vancouver Launch Invitation’ or ‘Toronto Launch Invitation’ in the subject line. We are going to celebrate!
Karen Schauber is a Flash Fiction writer obsessed with the form. She has been on a maelstrom writing since she was first introduced to this brief condensed short story form three years ago. Her work has since appeared in 25 international literary magazines and anthologies, including Brilliant Flash Fiction, Bending Genres, CarpeArte, Ekphrastic Review, and Fiction Southeast. The Group of Seven Reimagined: Contemporary Stories Inspired by Historic Canadian Paintings, celebrating the Canadian modernist landscape painters, is her first editorial/curatorial flash venture. Schauber runs ‘Vancouver Flash Fiction’, a flash fiction Resource Hub and Critique Circle, and in her spare time, is a seasoned Family Therapist. A native of Montreal, she has called Vancouver home for the past three decades.
How did you find your particular writing style? A creative writing class, a teacher, a format or something else?
Do you write differently for different genres?
We all find a process that allows us to convey our story in the best way is good – right? There are several styles that utilize words/language, sentence structure, and paragraph structure, to convey our meaning effectively in respect of the genre we write.
Last week’s question: How important is research to you when writing a book? What have you researched for you current manuscript?
For me, research is half the fun of writing. Even with the convenience of today’s Internet, I still enjoy thumbing through “real” reference books: highlighting, underlining, dog-earing pages, sticky noting, etc. My most recent research project has been on cremation.
I have researched medieval physician’s healing techniques, the circumstances of how a body can dry out and become a husk, natural substances that prevent pregnancy or induce sterility.