The New Eve Fertility Method for Getting Pregnant After a Miscarriage or Stillbirth.

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What a pleasure it is to welcome Bridget Osho, who has just released her new book, The New Eve Fertility Method for Getting Pregnant After a Miscarriage or Stillbirth. Bridget is more than a writer, she’s a woman with a mission to help other women overcome the difficulties facing them after pregnancy loss. For any woman who has undergone this traumatic experience, this book, and perhaps the institute she founded in the UK, Cherie Mamma, may be a wonderful new direction to consider. Welcome Bridget!

Interviewer: Debbie A. McClure

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Q: What is the Cherie Mamma Institute?

A: The Cherie Mamma Institute is an organization designed to help women heal from pregnancy loss so that they can conceive healthy babies. We do this by helping them create healing lifestyles and regain their natural feminine balance, usually disrupted by pregnancy loss.

The primary mission of the Institute is to help women who have lost pregnancies grow healthy and happy families. Part of our mission also includes research into the understanding and prevention of pregnancy loss and bringing the topic into the public domain so that it stops being a taboo subject.

Q: When you lost a pregnancy at seven months gestation, that event changed your life on many levels. What would you say has been the most profound lesson you’ve learned in your journey so far?

A: My pregnancy loss led to me to seek a deeper meaning to my life, my calling, and the calling of every woman. I have learned so many life lessons on this journey, but I think that the most profound lesson I have learned is that every woman is called to achieve her emotional, mental, and physical potential. Once she does this, she can be happy and fulfilled.

I believe that it is not just that women can have it all, it is that women need to have it all, and many fertility problems would be prevented if women achieved optimal physical, mental, and emotional well-being. We cannot give what we do not have. Out of the fullness of potential we can become mums, grow our families, and make an impact in the world. That is why it is so important that women who have lost their pregnancies are given the support they need to heal and become the best versions of themselves.

Q: What unexpected lessons have you learned from the women you’ve helped?

A: I have learned that it is not enough to know what to do to help them, you also have to know how to help in a way that empowers them. Many women who have been trying to conceive or lost pregnancies would do anything to have their healthy babies, but after trying different solutions for so long with little success, they can start to lose faith in themselves, which translates to loss of faith in other solutions.

It is an unconscious way of protecting themselves from false hope. In order to help them—and this applies to everybody who needs any form of transformation, such as weight loss, career growth, etc.—one needs to help them believe in themselves again. People need to believe that what they want can still happen for them and they cannot give up. It is about empowering them with hope.

Q: When you wrote your latest book, The New Eve Fertility Method, what were you hoping to accomplish that the Institute couldn’t or hadn’t?

A: I am well aware that not every woman who needs to heal from pregnancy loss will be able to get direct support through the Institute. Through the book, more women will get to know that they can truly heal from pregnancy loss and grow their families.

Q: Could you explain what a rainbow and an angel baby are?

A: An angel baby is what some people call babies who have been lost during pregnancy. They are believed to be little angels in heaven. Some people go as far as to see them as their little guardian angels who are alive, well, and happy. It is a great source of comfort to families who have lost pregnancies if they believe in life after death. I know this helped me a lot when I lost my pregnancy. It still does.

A rainbow baby is what some people call babies conceived after a pregnancy loss and who was born alive and healthy. It denotes the rainbow after a storm in the same way we see rainbows in the sky during/after the rain.

Q: What is the difference between the method you outline in the book and other methods women may have tried?

A: There are two major differences between the New Eve Fertility Method and many other methods.

The first is the emphasis on the totality of what goes into making a woman herself. Too often other fertility methods and approaches focus mainly on the woman’s body. The New Eve Fertility Method is based on the principle that when a woman loses a pregnancy, it is her whole world that has been affected; from her mind, to her emotions, to her body, her relationships, and even her work. This method focuses on helping her to pick up the pieces in all these aspects of her life so that she can truly heal.

The second difference that sets The New Eve Fertility Method apart is the emphasis on trying to heal naturally. Our bodies are naturally designed to conceive and give birth to healthy babies. It is when our natural balance is compromised that fertility becomes a struggle. For many women, this imbalance can be corrected naturally, and even when medical solutions are needed, a natural approach can make them even more effective.

Q: Writing a non-fiction book is quite an undertaking. What have you learned about the processes of non-fiction writing and publishing that you didn’t know before?

A: There is a lot more to writing a book than having ideas! For one, you need to make sure that you can guide a reader from little or no knowledge on the topic to being very knowledgeable. It means you need to be able to put yourself in the shoes of your reader.

Another thing is that you cannot do it on your own, you need at least another pair of eyes to read your work and you also need to have an effective marketing plan, otherwise your book will not get into the hands of the people who really need it.

Q: What do you estimate is the success/failure rate for women who come to you and the Institute for help?

A: It is difficult to look at my work in terms of rates, since women who approach us have different needs. Some women need to heal physically, e.g. improve their menstrual cycles. Some women need the emotional support to help them heal from pregnancy loss. While we support women to conceive healthy babies, our primary focus is to help them heal emotionally, physically, and mentally from pregnancy loss.

To this end, we have had women whose menstrual cycles have resumed after months of no periods, women who have conceived and delivered healthy babies, and women who feel that they have been given a new lease of life and hope.

Q: What would you say is the biggest misconception many women and health care providers believe about fertility and conception that is not true?

A: I think the biggest misconception that women and health care providers have is ignoring the influence of lifestyle in conception efforts. I have found that there is a large dependency on medications and/or supplements and not enough on wholesome diets, stress management, mental healing, and so on. I believe this is the reason so many women struggle with little success to conceive.

Q: Have you encountered any push-back from the medical community, or are they supportive of your efforts to help educate women regarding fertility and conception?

A: I have not experienced any push-back from the medical community. I am not expecting to, since my work does not replace their work. If anything, our work complements theirs. Most women who need medical solutions will benefit from the support the Institute gives in terms of stress management, natural diets, and exercises, among other things. I have had the support of a few doctors who understand what I am doing and know that women benefit from it.

Q: In your book you address fear and guilt. In your opinion, how prevalent are these feelings in women who have not been able to successfully carry a pregnancy to term? Is it a reflection of societal or personal issues?

A: Fear and guilt are very prevalent in women who have experienced pregnancy loss. There is the fear that they might never carry a baby to term and never have a baby. There is also the guilt that something they did or didn’t do contributed to the loss of their baby, since they were their baby’s primary caregivers.

In my opinion, the fear and guilt that many women after pregnancy loss experience is largely a reflection of their understanding that as a mother they feel responsible for their children. That is not a bad thing. Every mum feels this way. Most women would feel guilty if their children had an accident at home, even if it was clearly not their fault. The problem arises when the woman is not able to move on from that guilt and recognize that these problems are not their fault.

I think society can help women with this. The fact that women find it hard to talk about pregnancy loss exacerbates the fear and guilt. They can come to believe that something is really wrong with them and they just might be bad mums.

Q: What’s next for you, Bridget?

A: Simply to reach out to more women who can benefit from the New Eve Therapy Method. I am working on collaborating with more people to spread the message to every woman who has lost her pregnancy and let her know that she can still create the family she wants. I hope to do so by guest-posting, interviews like this one, seminars, and joint venture programs.

You can contact/reach Bridget at the following links:

Facebook: www.facebook.com/cheriemamma

LinkedIn: www.linkedin.com/company/the-cherie-mamma-institute

Website: www.cheriemamma.org

Twitter: @cheriemamma

Amazon: https://www.amazon.co.uk/dp/153974096X/

 

 

 

Final Round: The Journey of a Lifetime

 

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Dave’s facing death. Sol’s truck runs into a tree. Two very different males are thrust together in the same ward with life-changing consequences for both. Such is the premise of Australian debut novelist Ross Barrett’s new book, “Final Round, The Journey of a Lifetime.”

Interviewer: Christina Hamlett

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Q: There’s no question that your career path has taken a fascinating route – from scientist to playwright to published novelist. Let’s time-travel back, though, to the early years of Ross Barrett. When you were a lad of 10, what did you envision doing as your life’s work in the future?

A: When I was 10, I think I had an aspiration to be an electrician. After that, I thought about being a Bank Manager, and later a teacher. I was always interested in science, but had no idea you could make a career out of it. I was very naïve with regard to the professions, and my family was quite poor, so the initial plan was that I would leave school after completing my Intermediate Certificate at age 15. Two of my teachers came to visit my parents at home and explained to them that it would be a waste of talent if I didn’t stay on and go to university. It was financially very difficult for my parents but they managed to support me for the extra two years of school. Once at university, I had scholarships and bursaries and was self-supporting. I am very grateful to my two teachers, and to my loving and very proud parents.

Q: Were you an avid reader back then or only putting your nose in a book if homework required it?

A: I was a keen reader, but not fanatical. Books were not part of our family life. I borrowed books from the municipal library, which were a mixture of fiction and popular science. My childhood tastes in fiction were Enid Blyton’s Famous Five books, Tarzan and Biggles. All of these are now regarded as politically incorrect. In my early teens I discovered Sherlock Holmes, and was attracted by the logical, i.e. scientific, methodology Holmes applied to the solution of his crimes. I read all of the SH stories many times. Later I based one of my plays on the relationship between SH and his creator, Sir Arthur Conan Doyle.

Q: What drew you to the field of science and, specifically, what type of science was your calling?

A: One of my early teachers, when I was about ten, gave me a book detailing simple experiments that could be performed at home. I loved working through them, and trying to explain unexpected results. For instance, spin a boiled egg on a smooth flat surface, and you will see it quite suddenly rear up and continue to spin on its point. Why?

I began to read books on science, and had an array of useful equipment that I had gathered together: electric batteries, buzzers, bells, transformers and globes. I was a bit of a pain in the neck, developing booby traps that woke up the household when my sister came home late at night from a date.

At university I studied physics, chemistry, zoology and mathematics. Although I was the top student in Chemistry, I dropped it and majored in physics because I liked the more fundamental questions that physics posed into the nature of the universe.

My research interests have been experimental and theoretical nuclear physics, signal processing, underwater acoustics and sonar.

Q: Do you believe that science is an art or that art is a science? How so?

A: I wasn’t quite sure what this question was getting at, so I Googled it. Most of the hits seemed to imply that art is subjective, and science is objective. I think this is very simplistic. We might like to believe that the results of science are independent of the scientist who carried out the research, but that is often not the case. Scientists are just as prone to ego trips, jealousy of their peers, susceptibility to financial inducements, and other human frailties, as anyone else. These can influence their interpretation of their results, so that they too become subjective.

Q: Like a lot of my peers in high school, science was a class that you either loved (because of the chance to make smelly things blow up) or loathed (because of all of the formulas and tables of elements that had to be memorized). You recently co-authored a book called Physics: The Ultimate Adventure. The title alone suggests a glamorous side to a subject that many of us would otherwise run away from. What inspired this approach and who was the target readership you and your fellow authors had in mind?

A: One of the attractions of science at school was to get hands-on and carry out smelly experiments ourselves. In those days, the school science lab was often full of the highly toxic hydrogen sulphide (rotten egg gas), and the benches awash with Mercury. These days the students are kept at arm’s length from such experiments, to avoid law suits from their parents. Little wonder that science numbers are down.

One of the reasons I dropped chemistry is because I found organic chemistry full of the rote learning of formulas. For me, this was not the case with physics. If you understand the basic principles, the formulas can usually be derived, at least at the level taught in high school.

When we decided to write Physics: the Ultimate Adventure we wanted to present physics in a way that would enable non-specialists to enjoy the mystery and wonders of modern physics, without being submerged in mathematics. We hoped it might encourage students starting out on their careers to consider physics as an option, and those who had already gone down another road to gain a better understanding of the world they live in.

We believe that physics, far from being dry, can be, and should be made, beautiful, inspiring and enjoyable.

Q: In 1987, you began writing scripts for live theatre, a decision that subsequently led to not only seven of them being professionally produced in Adelaide but one of them selected as the best new South Australian play of the year in 1994. Tell us about your approach to the playwriting craft. For instance, is there a formulaic/outline structure that draws from your left-brain expertise as a scientist or do you allow your right-brain creativity to invite the muses in and see what they do?

A: I do not have any formulaic structure that I work from. I tend to have a broad outline of character, plot or theme that is the starting point. I start writing fairly early in the creative process, and it is this act of putting the material on the page that generates further ideas on where to go next. For me, the analytical, or left brain activity comes at the rewriting stage. Characters are then torn apart and extra traits introduced to give them more depth, the dramatic structure is analysed to locate the climaxes and make sure they are in the right place, and the dramatic conflict in every scene is studied to find the characters’ objectives and what is preventing their fulfilment. When all the problems of the script have been identified, I then return to the starting point, and let the muses prepare a second version. This cycle continues until a convergence occurs, and I have what I call my First Draft.

It is a time-consuming process, and probably not practical for a long work, such as War and Peace. However, if I try to plot everything out first, I find myself staring for ages at the blank page.

Q; Do you allow anyone to read your works in progress or does everyone have to wait until you have typed the final page?

A: After I have reached the First Draft stage described in the last question, I let others read it and offer critical comments. To let them read it before this stage would be to waste both their time and mine, because the script has not yet solidified enough. It is very beneficial to get a play script read aloud by good actors. They have much to contribute on characterisation and dialogue.

Q: What did it feel like the first time you heard applause for one of your productions?

A: It was very exciting. Even though not comedies, most of my plays have plenty of humour, and it is always rewarding to hear laughter come at the correct places.

It was a great surprise to me to see the different reactions of different audiences for the same play. This is the charm of live theatre. The audience is a part of the production, and the actors feed off their reactions, as much as the audience responds to the actors. Some audiences can be quite cold, while others respond very warmly to the same show. Psychologists could make a living studying the group dynamics of audiences. One of the best audiences I ever had was when the play went on after a cocktail party, and the audience was half sloshed.

I will always remember a comment I overheard at interval during my first play. I was walking past two young members of the audience who were outside the theatre with a drink. They did not know I was the writer, and as I went past I heard one ask the other: “what do you think of the show?” My ears pricked up because I was interested to discover whether someone thirty years younger than I was would get anything out of the play. His reply was one of my most satisfying moments. “That’s my life being enacted on the stage in there,” he said.

Q: Your first novel, Final Round, was originally conceived as a stage play. What was the inspiration behind the storyline?

A: This play began several years ago when I spent a week in hospital with a Deep Vein Thrombosis. “Look on the bright side,” everybody said to me. “It’ll give you material for a new play.”

When the character in the next bed learned of my condition, he comforted my wife with: “That’s what I’ve got, only worse. They may have to take my leg off.” Another member of the ward had a carotid artery that was 50% blocked. He was given aspirin, sent home and told to come back when it was 75% blocked. The fourth patient, who kept everybody awake at night with a hacking cough that we all thought was chronic bronchitis, was found to have inhaled a pea, which was now lodged deep in his lung.

A hospital ward is a place where people, who would normally power-walk the Nullabor Plain to avoid each other, are thrown together. Scars are opened, muscles flexed, secrets unlocked; all this in an environment where tragedy and death are often not far away. I realised I had the perfect setting for a play to explore the growth of a bond between two very different males who nevertheless shared a dark secret.

Q: What triggered your desire to adapt it to a different medium?

A: In a play, you are bounded in what you can present by the available time (in this case, 60 minutes) and by the limits of the stage. I wanted to explore the motivations and internal thoughts of the characters in more depth than was possible in a Fringe stage play.

Q: What did the adaptation to a novel allow you to do that might have been challenging/problematic in a live performance?

A: I structured the novel so that each chapter was written from a different point of view, cycling through the POVs of the three main characters. In this way the thoughts of the three characters about their life situations, and the others sharing them, are clearer.

The stage play takes place entirely in a hospital ward. Although this is still largely true with the novel, in the latter case there was more freedom in exploring the characters’ back-stories and other events outside the hospital environment.

Q: What would you advise other playwrights who may be thinking of adapting their stories to a different platform?

A: Go for it. If you have a successful play then you already have well-developed characters, realistic dialogue and a plot line with climaxes in the appropriate places. A novel enables you to go into greater depth with the characters, and explore issues that may only have been hinted at in the play. You have the freedom to develop sub-plots and take the action to exotic or surreal locations.

Bear in mind, however, that you must develop language skills that enable you to write clear, grammatical English. A play consists of dialogue and stage directions. The latter are read by nobody, least of all the director. A novel must carry the reader along with the artistry of the writer’s prose. This is a different skill from those possessed by a playwright.

Q: In writing for both the stage and the page, are there recurring or underlying themes that readers should pay attention to?

A: My writing has dealt with historical subjects (Billy Hughes and How We Beat the Favourite), science themes (Footsteps, Love in the Chook House, Double Blind) and more general explorations of the human condition (Suns of Home, Final Round, Rainbows Singing). My writing is about the themes that interest me.

In both my career as a scientist and in my writing, I have ranged over a fairly wide area. Probably more success comes to those who restrict themselves, e.g. the specialist who knows more than anybody in the world about the third digit on the African elephant’s left front foot, or the writer churning out the fifteenth book in a crime series. However, that is not what I enjoy doing.

Q: Authors oftentimes inject aspects of their own personalities into their characters. Would you say this is true of your own work?

A: Partially. I would say that there are parts of me in most of my characters.

If you are writing about a murderer, that doesn’t mean you have to be one. However, you need to be able to construct a believable murderer if your play or novel is to be successful. This might entail imagining what you would be capable of if some of your moral inhibitions were switched off. Character actors face the same situation when playing villains. Some decline to play child abusers because they are unhappy with the dark places in their minds that their research for the role takes them to.

I would say my characters are based on research, combined with exploring and exaggerating the parts of my own personality that are relevant to the character.

Q: Which comes first for you – the characters or the plot? Why does your chosen method best suit your writing style?

A: This depends on the play or novel. My plays, Billy Hughes and How We Beat the Favourite are the stories of two real characters, a former Australian Prime Minister and a poet/horseman. In these cases, the characters obviously came first. My play Sherlock Holmes and ‘The Coming of the Fairies’ asked the question: how could such an irrational person as Sir Arthur Conan Doyle, who believed in spiritualism and fairies at the bottom of the garden, have created the most coolly rational character in fiction? The characters were already there, and I had to develop the plot. In the novel I am working on now, Double Blind, the plot came before the characters, as it was based on a fiction analogue of a real situation.

Q: When and where do you get your best writing done?

A: I write in my study at home in Adelaide, or at a beach house we have in Marion Bay on the Yorke Peninsula of South Australia. When I was working as a scientist, I wrote in the evenings after dinner. Now that I am retired, I write in the morning.

I try to write as a habit, and to produce a minimum number of words each day. This is not realistic when writing about science, as there is quite a bit of reference checking and research to be done with each paragraph.

Q: Do you self-edit as you go along or wait until the end?

A: Before beginning my day’s writing, I tend to read several of the last pages that I wrote at the previous sitting. I polish the prose while doing this. I treat it as a warm-up, in the same way that actors warm up before a performance. It enables me to get into the state of mind that I was in when I left off last time.

One thing that I do not do is listen to the critic on my shoulder who is whispering into my ear that what I have just written is rubbish. I know from past experience that although it may be rubbish at the moment, by the time it has been subjected to endless rewrites, it will at least be of an acceptable standard.

Q: What governed the decision to self-publish Final Round?

A: I was one of a group of writers who had submitted their novels to a small U.K. publisher, had their books accepted, and been offered quite generous contracts. However, the publisher became sick and when he recovered from an illness lasting over a year, he had lost interest in the fiction side of his company.

Rather than go through the whole hassle again, we all decided to self-publish, and provide each other with any tips that we picked up along the way.

My experience with Physics: the Ultimate Adventure was quite different. In this case, we submitted two sample chapters and a summary of the other chapters sequentially to three publishers. We received replies within a few weeks. In two cases, they said they liked the proposal but it was not the type of book they published, and they did not believe their readership would be interested. They were basically text book publishers. The third was more dismissive, but also replied quickly.

The fourth publisher we submitted the proposal to was Springer. I received their email reply 48 hours after the editor returned to her office from a week-long holiday break. The mail started off in a very positive vein. I skip read down the screen, looking for the paragraph beginning with “however”. There wasn’t one. They were going to publish it.

Q: What have you learned from the self-publishing experience that you’d like to share with fellow writers?

A: Self-publishing is a doddle and costs nothing. The resultant Print-on-Demand paperbacks and ebooks are of good trade quality. However, the marketing of the books takes time and effort. This is something that I, and the other group of writers I mentioned above, are working at.

Q: What would readers be the most surprised to learn about you?

A: Possibly that I have played seven 1st grade rugby matches, and have had my photo published in the local newspaper more often as a rugby player than as a scientist or writer. Admittedly, this was half a century ago.

Q: Coffee or tea?

A: Both. I like a cappuccino in the morning, but prefer tea as a thirst quencher during the day. These days, however, I have to cut down on caffeine.

Q: Cake or cookies?

A: Cookies (we call them biscuits). However, they do tend to put on the weight.

Q: Early riser or night owl?

A: Certainly not an early riser.

Q: If Hollywood came calling to make a movie out of Final Round, who would be in your dream cast?

A: Geoffrey Rush for the older character. Rush was a member of the Adelaide State Theatre Company when we moved to Adelaide years ago. This was before he won his Oscar, his Emmy and his Tony. I saw him in many stage plays at the time, and thought he was brilliant. I saw him again last year playing King Lear in Sydney. Same verdict.

For the younger man, I would suggest Russell Crowe, but he would have to take off a few years.

Q: What are you working on now?

A: Double Blind, which is my second novel, also based on a play script.

It is set in a science research institute. Linh, a Research Fellow at the Verdelho Institute in Melbourne, becomes worried that her supervisor has more than just objective scientific reasons in wishing to see a pharmaceutical discredited. She finds herself unwittingly caught up in a major scandal, and the steps she takes to extricate herself have consequences for her career, and for everybody else at the Verdelho Institute.

As you can imagine, my academic background came in useful here.

Q: Where do you hope to go with your writing from here?

A: My two Italian co-authors and I are planning a second book, exploring the limits of physics. Our first book raised a number of questions, and issues, that deserve further discussion. For instance, the two major 20th century theories in physics, Relativity and Quantum Mechanics, are mutually contradictory. They can’t both be right. Also, there are about two hundred arbitrary fundamental constants in physics, and if the value of one of these were changed by a few percent, our universe would be so different, life as we know it would not be possible. We thought we could write something interesting on these, and similar, topics.

Q: With hindsight, what have been the most rewarding aspects of your professional life?

A: For a scientist it is exciting to be able to look at your work and say “I have just learned something that nobody else on the planet knows.” This is the ultimate adventure. It is exciting to look at Google Scholar and see that scientific work I published in 1990 is still being cited today, and used in fields, e.g. traffic control and the analysis of music, far-removed from where I ever imagined it being applied.

However, another reward is the variety of people I have met, and the places I have visited. To live in a non-English speaking country (Germany) for two and a half years, learn German, and appreciate the different perspective that an experience like that brings to one’s outlook, is broadening.

At my recent birthday party, among the guests were physicists, engineers, business managers, company executives, writers, actors, directors, musicians, teachers, and university professors. They were the friends I have made in the various phases my career has passed through. They are all very different people. I hope none of them recognises themselves on the stage, or in one of my novels.

Q: Where can readers learn more about you and your work?

A: I have a web site at www.rfbarrett.com

Readers can read more about my work there, and contact me through there if they wish. I will be glad to answer any of their questions.

Q: Anything else you’d like to add?

A: I think that about covers it.

Bonded at Birth: An Adoptee’s Search for Her Roots

Bonded at Birth

“Our history begins before we are born,” wrote Scottish inventor James Nasmyth. “We represent the hereditary influences of our race, and our ancestors virtually live in us.” It’s a quote that aptly captures the popularity of genealogical quests but what if the paper trail goes only as far as a birth mother’s decision to leave her baby’s future in the hands of strangers and walk away, taking her own life story with her? In her poignant memoir, Bonded at Birth: An Adoptee’s Search for Her Roots, author Gloria Oren shares insights gleaned from 16 years of searching and 41 years apart.

Interviewer: Christina Hamlett

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Q: Where, when and how did your journey as a writer begin?

A: My journey as a writer began years ago. My first published piece was a poem in a camp newsletter. I seemed to be writing something all the time. It strengthened during the “Breaking Into Print” course.

Q: Do you feel that you chose this profession or that it chose you?

A: It sort of chose me. One day I received a piece of mail from Long Ridge Writers Group offering a writing test to qualify for one of their courses. I thought, why not, at the worst I won’t pass. I received the test, filled it out, and sent it back. I didn’t think I would pass or qualify. A few weeks later I got that piece of mail I didn’t think would come saying I qualified for the “Breaking into Print” course. It included the application. I applied and the rest is history. I owe a lot for the improvement of my writing to my instructor, Lori Soard.

Q: Your new book, Bonded at Birth: An Adoptee’s Search for Her Roots, just made its debut. What inspired you to put fingers to keyboard and bring this story to life?

A: What inspired me to write my story was the realization that adoptees do have the right to their own information regarding their origins and medical histories. I had almost no information to go on, yet things have a way of happening, and because of them and the help of others, I was found. I had to share my story with adult adoptees who wish to search but hesitate, adoptive parents confronted by their adopted child’s wish to search, and by birth parents who fear searching not wanting to intrude on their biological offspring’s life. It will also attract memoir readers who enjoy a unique story. And couples contemplating adoption will learn the damage that secrecy can lead to and, with hope, this book will ensure that they will be the ones to talk to their adopted children about their adoptions.

Q: Describe your book in seven words.

A: Interesting, unique, roller coaster, engaging, motivating, descriptive, and page-turner.

Q: What was the most challenging aspect of developing this project?

A: Oh gosh, mostly technology, but also sounding good on audio clips and creating professional looking videos. That is yet to come.

Q: Did you allow anyone to read it as a work in progress or make everyone wait until you had typed the final chapter?

A: I had many beta readers at various stages of development. Feedback has been great.

Q: In earlier generations, adoption records were kept sealed, often as a measure to keep both the birth parent and the adoptee from having their respective lives disrupted down the road. Today there seems to be a greater emphasis on literally making those records an open book and even including birth parents as part of the extended family. What are your thoughts on this shift in accessibility? If, for instance, an unwed mother gives up her baby in order to avoid personal scandal, is she now offered no legal protection if/when the adult child demands to know her identity?

A: Since not all states have opened adoption records, I would venture to say that unwed mothers are still given the option for sealing the records or opting for an open adoption where they will have connection with the child.

My thoughts on this after being raised surrounded by secrecy and post reunion being told by my mom that she was forced to sign the papers not even knowing what she was signing says that records should be accessible to the adoptee at age 18 and that secrecy has no place in their lives.

Q: Aside from medical considerations, is “curiosity” a substantive excuse to expose past secrets about parentage?

A: I suppose curiosity has a play in it, though it is a right the adoptee has to know his ancestral roots, where he came from, and if secrets get exposed at some point, so be it. In the end it usually works out well for many cases.

Q: What do you know about yourself now that you didn’t know before?

A: If you mean before my reunion, then I didn’t know I was related to Col. William Prescott or that my sixth great aunt was the first North American nun.

If you mean before I wrote the book, then I now know that I can do it and can also do the marketing as long as I take it step-by-step.

Q: Like many authors today, you chose to go the self-publishing route. What governed that decision and was the experience what you expected it to be?

A: I’ve queried over a hundred agents and though they all had something good to say and responded, no one accepted it for publication. I knew it had to get out there, and I was getting tired fishing for a hooked bait so I tried the self-publishing route.

Q: What did you like best about self-publishing?

A: What I liked best was that I could produce a product the way I wanted to. It was a learning process for me as well.

Q: What did you like least?

A: What I liked least is that I didn’t have a backup marketing setup in the route I chose, but I will get the ropes of the marketing side and will do the best I can for now. I hope to sell enough books to allow me to find some marketing help in the future if needed. As they say, the best form of marketing is word of mouth and for that, no training is needed. So please tell everyone you know who likes to read a good book to check Bonded at Birth out.

Q: Advice to other authors considering the DIY route?

A: Do your research and don’t give in. You will get bombarded with phone calls from self-publishers out to get your money. I got quotes from $1200 up to $4000. I reached out to someone who published many books on the self-publishing route and he connected me up to the gal who helped him. It cost a lot less, the work was completed in a timely manner and the finished product is beautiful.

Q: What are you doing to promote your work and which strategies are proving to be the most successful for you?

A: My book just came out on the 15th of this month (June 2016) so right now I’ve sent out some press releases, some tweets, announced it on Facebook, and word of mouth. I’ve been working on creating a marketing plan. I plan on doing a small scale launch party now and probably a two week long (or longer) virtual book tour in November to coincide with National Adoption Month.

Q: Bad reviews are a fact of life. What do you do when you get one?

A: Not everyone will like your writing. If most reviews are positive and good, one or a few are the needles in a haystack. Most of the time they won’t be seen and if seen I pretend I don’t see them. I don’t respond to bad reviews.

Q: Morning person or evening?

A: Morning. I’m usually up and at it between six or seven.

Q: Dogs or cats?

A: Definitely dogs. I’ve had a dog since I was six. My last dog was a Doberman-Australian Shepherd mix. She died several years ago. I’ve been searching for a non-shedding dog since but all the good ones I come across seem to slip right through the cracks and I haven’t had luck yet.

Q: Coffee or tea?

A: Both, though mostly tea.

Q: What would readers be the most surprised to learn about you?

A: On a trip to Sitka, Alaska, I visited a bear sanctuary and fed a bear apple slices.

Q: Describe yourself in five words.

A: Dependable, dedicated, helpful, creative, and caring.

Q: What is the oldest, weirdest or most sentimental item in your closet?

A: The most sentimental items in my closet are my children’s childhood blankets.

Q: If you could sit down at lunch with your favorite hero, who would it be and what would you most like to talk about?

A: Definitely Col. William Prescott of the Battle of Bunker Hill fame. I’ve always liked learning about him in school and thought he did some amazing things. After my reunion when I started genealogy research of my birth father’s family ancestral tree, I discovered that Col. William Prescott was my 1st cousin 7X removed. I would talk to him about his aunt, Sarah Prescott, who was my sixth great grandmother.

Q: Sent off to live on a deserted island (yet with all the necessities for survival), which three books would you want to have with you?

A: Foraging & Feasting: A Field Guide and Wild Food Cookbook so I would have something to eat; Making Shelter in the Wild so I could have someplace to sleep; and a Soduko booklet so I would have something to do.

Q: What do you do for fun when you’re not writing?

A: Let’s see, I like crocheting and needlepoint, paint by number, and lots of reading. I love doing genealogy research and trying to solve the puzzles brought upon by DNA matches. I’m also an avid Scrabble player but don’t get to play often. And when I have the opportunity, I love jigsaw puzzles.

Q: What’s next on your plate?

A: I am in the research state. There were seven elected presidents before George Washington. I want to learn more about them, about the duties of those elected presidents, and how they were elected. What else they did in their personal lives. Did they have families and who were they. What were those years like and how did events of daily life affect those men. I became interested in this when I heard it mentioned on the radio and when I asked around no one seemed to know anything about this. I don’t recall having learned about this in school.

Q: Where can readers learn more about you and your work?

A: I can be found online at the following places:

Facebook: Gloria Oren Writing Ventures
Facebook Group (women only):
Women Writers, Editors, Agents, and Publishers
Twitter:
http://twitter.com/gloriaoren
Google +: https://plus.google.com/u/0/+GloriaOren
Goodreads:  http://www.goodreads.com/user/show/2049009-gloria
Pinterest:  http://pinterest.com/gloriaoren/
LinkedIn: http://www.linkedin.com/gloriaoren

And of course, they can visit my website at http://gloriaoren.com.

I also have two blogs: Gloria’s Corner http://gloriascorner.com and Family Links Matter http://familylinks.blog.com/ http://

Q: Anything else you’d like to add?

A: If you do have a chance to read Bonded at Birth, it would be greatly appreciated if you took a minute to post a review on Amazon. I hope you enjoy reading it as much as I enjoyed writing it. It is available at https://www.amazon.com/Bonded-Birth-Adoptees-Search-Roots/dp/0692722289

 

 

 

Raisin the Dead

 

Karoline Barrett

“Cooking,” wrote American journalist Harriet Van Horne, “is like love. It should be entered into with abandon or not at all.” The same can be said about the craft of writing, and when these two passions come together in a culinary themed mystery, it’s the recipe for a mouth-watering delight that leaves readers hungry for more. Karoline Barrett – today’s featured author – joins the ranks of Ellie Alexander, Miranda Bliss, Christine Wenger and other kindred spirit wordsmiths whose protagonists have a taste for solving neighborhood crimes. In Barrett’s latest release, Raisin the Dead, library director Anne Tyler is a person of interest in a murder, a scenario that compels bakery owner Molly Tyler to step in to help clear her mother’s name.

Interviewer: Christina Hamlett

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Q: When did you first know that writer’s ink was flowing through your veins and you just had to do something about it?

A: I’ve always enjoyed writing, but didn’t take it up seriously until I was older (we won’t discuss how much older). My husband encouraged me to take writing classes from an online writing school in Connecticut, where we now live, called Long Ridge Writers Group. They were wonderful and I learned so much. My very first published novel, The Art of Being Rebekkah, started as a short story in one of my classes.

Q: Stylistically, what authors (living or dead) do you feel have had the greatest influence on your own approach to storytelling?

A: Ann B. Ross (author of the Miss Julia series) because of her character portrayals, they’re so very real, and Janet Evanovich because of her humor.

Q: The Bread and Batter mystery series is a clever concept. What inspired it?

A: I was having a hard time thinking of another writing project and my agent asked me what I liked to read. The answer was mysteries. She suggested I write one, and I took her advice. I like discovering new bakeries, so I wanted the series to center around Molly and the bakery she owns with her best friend, Olivia. I’m happy to say it worked out.

Q: Which of your characters is secretly your fictional self?

A: I’m asked that a lot. In reality, my characters come from my imagination. If I had to pick the one I want to be my fictional self, it would be Emily, the owner of Barking Mad books. I’ve always thought owing a small bookstore would be delightful.

Q: Favored baked dessert – a cake, a pie or cookies?

A: Since ice-cream isn’t a choice, chocolate cake with chocolate icing (do you see a chocolate theme here?)

Q: Store-bought or homemade?

A: Homemade. The best kind!

Q: In your daily writing routine, when and where do you feel you are at your most energized?

A: I’m a morning person, so I do well between 7 a.m. and 3 p.m. My writing desk faces a window, so I navigate between that and my recliner when I’m writing.

Q: Do you allow anyone to read your material while it’s still a work-in-progress or do you make them wait until you have typed The End?

A: They have to wait. My work-in-progress goes through a lot of changes between the time I type the first work and the time I type The End.

Q: Which do you feel is more challenging – to pen a short story, to develop a stand-alone novel, or to create recurring characters for a series?

A: I’ve done all three, so I have to say a series. I have to keep each book fresh, make sure all the characters come back with the same names, eye colors, etc. Make sure the town names haven’t changed. It’s also a challenge not to say too much about the previous books in case someone hasn’t read them yet. Then there’s the challenge of keeping all the characters interesting.

Q: Let’s say Hollywood comes calling to turn Raisin the Dead into a new TV series. Who’s on your wish list for casting?

A: I have to confess I don’t keep up on who’s who in Hollywood. I don’t know who the Gilmore Girls are, and I thought The Game of Thrones had something to do with Queen Elizabeth. I’m going to chicken out of this one and say I’d be so thrilled to see it as a TV series, I don’t care who was playing the characters. Although, I’d love to hear from readers on whom they think would be good casting.

Q: How did you go about finding the right literary agent to represent your work?

A: As mentioned, my first novel was The Art of Being Rebekkah. I compiled a list of agents who were looking for women’s fiction.  I got a lot of requests for the partial manuscript, and the full manuscript, but no takers. After going through 120 agents, I was thinking about calling it quits. Then, on Twitter, I saw someone discussing Frances Black. She and a partner own Literary Counsel. Okay, I thought. One more time! She loved my book and signed me. The rest, as they say, is history.

Q: What’s your favorite thing about being published?

A: Pleasing my readers and having them ask for more books!

Q: Promoting a new title is almost as much – if not more – work than writing it in the first place. What are some of the activities you’re pursuing in this regard to put your book(s) on everyone’s radar?

A: It really is! I’m a constant presence on Facebook. Both on my author page and personal page. I’ve connected with a lot of other authors, readers, and bloggers. I do a lot of blog tours and giveaways. I love the giveaways, but I make my husband pick winners. I just can’t do it. I’d pick everyone!  Since my Bread and Batter series is e-book only, I can’t do book signings, which I’d really like to do.

Q: To celebrate your success, you’ve made reservations for dinner at your favorite restaurant and can invite any three famous authors to join you. Who are they, what are the seating arrangements, and what question would you most love to ask each of them?

A: I’d have Shirley Jackson, Janet Evanovich, and Debbie Macomber. I’d be at the head at the table, so I could see and hear everyone.  Shirley’s question would be, “How on earth did you come up with The Lottery? It’s my favorite short story of all time.” For Janet, I’d want to know how she comes up with all the scrapes her characters get in to and how she keeps all her books so funny and fresh. I’d like to talk character development with Debbie. Her books are so character driven, which is what I love about them.

Q: What would readers be the most surprised to learn about you?

A: I want to write a psychological thriller like The Girl on the Train.

Q: What do you do when you’re not writing?

A: Read, shop, spend time at the beach. Think about writing.

Q: Do you typically read one book at a time or have multiple stacks throughout the house?

A: I can handle reading two books at once, but more than that and my brain starts complaining.

Q: What are you reading now?

A: I just finished A Muddied Murder by Wendy Tyson. Time for a trip to the library!

Q: What’s next on your plate?

A:I’m working on book three of my Bread and Batter series, I’m outlining a new series I want to present to my agent, and I also have a romance half-written.

Q: Best advice to aspiring writers?

A: Write what you love, believe in yourself, and have patience, lots of patience.

Q: Where can readers learn more about you and your work?

A: My website is karolinebarrett  On Facebook, readers can find me here, KarolineBarrettBooks

Q: Anything else you’d like to add?

A: Thank you so much for having me, it’s been fun! Of course, a thank you to all my readers!

 

 

A Chat With Dan Lombard

Dan Lombard

For as many years as I lived in Northern California – and even the coincidence of penning advertising copy – my path had never crossed that of fellow wordsmith and publisher Dan Lombard.* It was through some of his well-crafted political posts on Facebook that our cyber-paths not only began to cross regularly but soon segued to chats about our joint fondness for fabulous food and travel. When I learned that Death Panel, Dan’s debut novel in 2012, had been followed in rapid succession by several more, I just knew I had to put this prolific author in the global spotlight.

*A mirthful bit of disclosure here is that I’d once had a government coworker of the same name. When I encountered that name again decades later, I couldn’t help but think the passage of time had made DL much more accomplished and interesting. A closer look at his head shot, however, also explained why he never mentioned he remembered me. Because, in fact, we’ve never met.

Interviewer: Christina Hamlett

**********

Q: If we were to time-travel and take a peek in the bedroom of your 10-year-old self, what clues might give us an indication of what you thought you wanted to be when you grew up?

A: Probably more riddles than clues. I haven’t figured them out yet. Or maybe I just did. Yes, that is it, I was always seeking adventure in the unknown, and back in those days entertainment was very participatory and required imagination, unlike today’s passive entertainment. It was a different place and a different time though. I mean, today I’m reluctant to allow my high school children to go into our local Target store alone. But when I was 15, back in the early 70’s, my buddy and I bought Eurail Passes and toured Europe for a month with nothing but that pass, a few hundred dollars and whatever we could fit in our backpacks. I need to keep that in mind when considering a contemporary audience; their experiences today are completely unlike anything I experienced. Perhaps that is why ageism is prevalent in Hollywood and on 5th Avenue.

Q: Did you have favorite authors/books at that young age?

A: Tolkein of course, the Harry Potter of my generation. Then, not long after it was Ian Fleming, I enjoyed reading about James Bond’s adventures as much as seeing them on screen. It was not until much later in life that I became aware that a favorite childhood movie, Chitty Chitty Bang Bang, was written and directed by the same duo, Ian Fleming and Albert Broccoli, who gave us Bond in print and on film. Of course, that made complete sense.

Then it was Leon Uris and above all James Michener (notably The Source) and his ability to draw you into a tale that featured far off places and spanned centuries. At one point I also found an unfortunately misplaced copy of a Henry Miller book, I can’t even remember now if it was Tropic of Cancer or Capricorn. Needless to say, it ruined me. But little did I know it would give me a taste of what would, far in my future, (today) be the model for bestselling novels. At the time I was living in Stockholm, Sweden, a very permissive society in that regard, and on my way home from school every day (yes, in 7th grade) my buddies and I would pass by a number of sex shops. Nobody would ever bat an eye when we’d stop in for a little ogling of the picture books, furthering my youthful debauchery.

Q: And who are your favorites now?

A: I do not read near enough fiction today, either in reprint from generations ago or contemporary. My preference in writing and reading is for books with an (accurate and believable) historic context, Dan Brown being a good example. I do have one peculiarity that I will share. At the age of 25 I read the entire 6-volume set of Winston Churchill’s recounting of World War II. I reread it 25 years later at the age of 50, and expect to do so one more time at 75. However, in between those readings, I do read volume one, The Gathering Storm, alone. That volume contains the instructions on how to avoid reliving the subsequent volumes. History is fascinating, a great teacher and, unfortunately, widely ignored.

Q: What experiences – travel, work, relationships – would you say have/had the most influence on your approach and discipline toward the craft of putting a story together from start to finish?

A: It’s not so much the experiences, but my approach to them. Everything I say, do, hear, think or see is tucked away for future use, whether simply in life, at work, or perhaps to form a plot or subplot in a good story. And in dreams and nightmares, the observations do show there frequently, as well.

Q: Which is more challenging for you as an author – writing a book or writing a short story?

A: If writing was a challenge I would not be writing. Okay, that was snide. A book is more difficult but has less regret. A short story is easier, but I am always left wondering why I didn’t expand that wonderful plot into a more complete work.

Q: Catharsis often factors into the development of works that are deeply personal and/or painful. Your first book, Death Panel, addressed the failure of the medical system during the last four months of your wife’s life following a diagnosis of multiple myeloma. What governed your choice to pen this as a novel told in third-person through fictional characters rather than as a first-person memoir?

A: It was not to shield myself from pain, or to serve as an outlet for the pain. I wanted to be completely honest in recounting my experience, which included some emotions from which I felt I could derive no pride. A reader can tell, though, that the third person is merely a front, so it was not an attempt at deception. But rather to deceive myself, and thinking that, since I had signed a confidentiality agreement with Kaiser when they paid me off, that this was a defense should they decide to come after me for violating that confidence. In retrospect, the best thing possible would’ve been for them to do exactly that, to give me publicity you just can’t buy. And after that ordeal, there really wasn’t any blood for them to get in return.

Q: The reviews on Amazon reflect that the themes which underscore Death Panel have resonated with readers across the country. What was your reaction to the outpouring of vicarious support from total strangers?

A: The reviews were a tremendous reward in themselves, and were sufficient to justify the time spent writing the book. Which is fortunate since, well, there was no financial reward.

Q: Almost on the heels of your debut novel, you entered the self-publishing waters again, this time with a cat and mouse suspense thriller set against a backdrop of California’s high-speed rail system. How did Midnight Departure come about and can we draw from the plot’s prescient context that Dan Lombard is secretly psychic?

A: I actually had been against the bullet train back when it was first proposed at the turn of the century, and even financed a website called StopTheBullet.com. That measure failed, I patted myself on the back for the small part I played, and assumed that was gone. Then it came back, and I thought what a great context in which to place a cat and mouse suspense thriller. Much of what I wrote is happening, not that greed, corruption and government planning are such a novel premise.

Q: Other than flowing prose and compelling dialog, what is the most important consideration as you write?

A: I like to bring together larger concepts and figure out how to work them in together. In the case of Midnight Departure pairing the project to build a $100,000,000,000 high-speed rail system with greed and corruption might have been kind of obvious. In my screenplay Prime Time Crime I chose to pair the notion of seeking fifteen minutes of fame (and the hoped for fortune that follows) with the evolving idea that just about everything we do is, or has the potential to be, surreptitiously recorded. In Last Writes, a short story, I chose to pair a Faustian deal with unforeseen consequences, especially when the devil is the author of those consequences. In the short story Red Ringer I paired the concept of identity theft with the Wild West of the 1880’s. And in Serum 6 I chose a device that is, I think, unusual if not unique. In this medical thriller I create a situation whereby the two protagonists do not realize they are brother and sister (though the reader does) as they get closer to consummating their relationship. Later in the novel, when this knowledge makes all the difference, the roles are reversed: they believe they are brother and sister but the reader now knows they are not.

And finally, most important, as I write, I think, how will this novel translate to the big screen? And, in so doing, how can I avoid stretching credibility?  Not only do I feel compelled to research anything I write for accuracy, but timelines as well. I absolutely detest faulty timelines in writing or in movies. The notion that, in the space of five minutes (five minutes to other characters in the work, not necessarily for the reader), the protagonist can board a plan, fly halfway around the world and confront his nemesis for the final battle, just bothers me.  And bathroom breaks. How can someone live an entire life, or even a month, or a year, in a novel or a movie, and never have to relieve themselves?

Q: When and where are you the most creative at the keyboard?

A: At the strangest of times.

Q: What’s the most unusual object that occupies a space on your desk or the walls of your home office?

A: Perhaps not so much unusual as special. Many years ago I had been publishing a local advertorial magazine and for one issue I featured an artist’s work on the cover. She later confided that had done more than anything to boost her career. I soon began doing this for a different artist on each issue, though no longer as a favor. I am the proud owner of a very nice collection of art by the local art community. In one case I commissioned a piece through this arrangement, bringing the artist two very different historical renditions of William Shakespeare and had her meld them into one. He looks over my shoulder whenever I sit down to write.

Which brings me to the one thing for which I am most grateful. While the Italian language may be wonderful for soaring operatic aria, and French as a musical spoken language lacking hard edges, as a writer, I most grateful that I am an English speaker. It is an incredible language with great depth that allows nuance and poetry within prose. Rules that I can break with abandon; though recognizing the need to avoid the banality of one cliché too many. The downside? A rapidly increasing English speaking population that believes a vocabulary of under one thousand words is sufficient to see one through a lifetime of communicating.

Q: If your writing career came with its own soundtrack, what would it be and why?

A: Magic Carpet Ride by Steppenwolf, one of my ten top favorite tunes of all time, and because if its title.  Any good read should take you on a ride like that, as should the writing itself.

Q: Anticipation or the real thing: which is better?

A: If it is alright I will direct you to the answer to next question as I see them as intertwined. Anticipation is the future, the real thing is history

Q: If someone gave you a crystal ball, would you look into it?

A:  Yes, though I would likely question what I saw.

Q: What are your thoughts on modern literature and the direction it’s taking in the 21st century?

A: The greatest let down was not long after I published my first two novels. First was, after finding my book as one of an estimated 30,000 titles self-published every month, as lost in the wilderness, oblivion, that I would try giving my books away for free on Smashwords.com.  After three months of promoting myself vigorously and watching my rankings inch upwards I found I just could not compete with the porn that was also being given away.  So–no I did not decide to write my own porn–but I did download and read one. We are not talking soft core here, folks.

The second instance was shortly after publishing Midnight Departure I was on a flight back East to visit my parents and struck up a conversation with the fellow on the other side of the vacant seat between us. I gave him a free copy of Midnight Departure, for which he thanked me profusely. Thirty minutes into the flight he pulled Fifty Shades of Grey from his carry-o and was immersed for the rest of the flight. So immersed that he forgot to pack the copy of my book which was left on the vacant seat as we deplaned.

Q: Do you let anyone read your projects while they’re still in progress or do you make everyone wait until after you’ve typed “The End”? What about that method works for you?

A: I don’t really have anyone around me right now that would be particularly interested or have the time to critic a lengthy manuscript, so pretty much rely on myself.

Q: What piece of technology could you not go an entire week without using?

A: The Internet.

Q: What makes writing a joy for you?

A:  As previously stated, the fact that I get to write in English. An amazing language.

Q: What is currently gathering dust in your footlocker or (to channel Hemingway) in your mind ready to bleed from your forehead?

A: Since I have already, in bits and pieces, described the work I have completed, what lies ahead? I have a drama in the works, Jack Rabbit, a story of an accidental con man, which unfortunately will not be completed until long after Danny DeVito has stopped performing in lead roles; I pictured him firmly in my mind’s eye every time I sit down to write a chapter there. I have a great American Novel in the works, in fact in the works for fifteen years now, and largely untouched for the last seven. A paranormal novel that involves time travel, though without the intention or ability to change history.

Q: Where can readers learn more about you and your work?

A: The books are on Amazon, or drop me an e-mail at dan@mailprose.com

Q: Anything else you’d like to add?

A:  The most important part of writing, and the one which can cause the most serious hang-ups (writer’s block) is the segue. It is necessary if you want to weave your tale. Loose ends are to be avoided and ideally, you don’t give your reader a resting place where they can set the book down and resume it later!  Perfectly good, and acceptable, to fool your reader. But if you do fool them, it is best to do so with a V8-style forehead-slapper: leave clever clues.

Humor is always a useful tool in writing. I see humor as having three flavors:

Situational, where you juxtapose two or more unlikely-paired conditions in one scene.

Slapstick, where simply falling down is funny.

Wit, where you use the tool at your disposal, language, to bring a smile.  This is my favorite flavor.

So, to tie it all together, and before I lose my audience, I repeat my favorite quote by my favorite author and conclude the interview:

“Brevity is the soul of wit.”

 

 

Heaven’s Gate

Jan Dunlap

Science fiction, spirituality and a dose of suspense describes author Jan Dunlap’s first book in her new series Heaven’s Gate: Archangels Book I. Jan spins a tale of intrigue when a physicist inadvertently proves the existence of heaven and all hell breaks loose. Be the first of your friends to read what one reviewer called “a mind-blowing experience”!

Interviewer: Christy Campbell

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What or who inspired you to begin this whole journey?

The first time I stepped into a public library – I think I was about five years old – I decided then and there that some day, I wanted to have my name on a book on a library shelf. That led me to become a ferocious reader; I earned a communications degree in college and worked in PR and advertising for a few years as an account executive/writer. I wrote a family humor column for our local paper while I raised my five children, and then one day, I decided to try my hand at writing a cozy mystery just to see if I could do it. That turned into my first Birder Murder Mystery, of which there are now seven in the series.

Your previous books of memoir and cozy mystery have all employed humor. Have you always had an interest in scientific subjects that led you to switch genres?

I’ve been a closet science geek my whole life, and especially loved astronomy. When PBS aired their series on string theory many years ago, it renewed my interest in cosmology and the mysteries of quantum physics. About the same time, my oldest son took a college course from the author of the Afterlife Experiments, and he urged me to read the text, which I did. That book sparked a landslide of ideas in my head for a suspense thriller that combined speculation about life after death, religious faith, and cutting-edge physics. I thought about it for years until I realized I had to write Heaven’s Gate (the first book in my new Archangel series) or I’d never quit thinking about it! It was a huge leap from comic cozy mystery, but writing those books helped me hone my skills at suspense and character development which are key to Heaven’s Gate.

And what was Jan Dunlap, successful author, doing before exploring the publishing world?

Raising five children as a stay-at-home mom, volunteering at their schools, writing my weekly humor column and eating chocolate.

Since this book incorporates topics of spirituality and faith in God, do you have a personal backstory to share?

My children and I often discussed spirituality as they were growing up, or at least, I spent a lot of time explaining why people practiced a religion. The older my kids got, the more interesting the questions they asked! In particular, a lot of contemporary scientific discoveries seemed to diminish or contradict faith, rather than strengthen it. It made me really explore my own belief in God, and I wrote Heaven’s Gate almost as an argument for faith in God that incorporates science, rather than taking sides in a faith OR science debate.

There are those people in this world who truly believe in psychic abilities. How do you feel about that?

I totally think that we have yet to discover/document the full potential of the human brain. We all have déjà vu, compelling instincts and even snippets of prescience. I think those are types of psychic abilities, and that some people are more skilled at using those abilities than others. As my Heaven’s Gate medium Khristina reminds my hero Michael, Shakespeare was right when he penned the line that “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.” If we think we know everything about life, that’s our pride talking, because only God knows everything.

Which leads me to of course to ask, have you ever had a psychic experience of your own?

I’ve never had what I’d term a classic psychic experience. I can’t move objects with my mind, I can’t forecast the winning lottery number, and I can’t find lost items by picturing them in my head. (Actually, I can’t find lost items no matter what I do…) But there have been a few times in my life where I could feel that something was about to happen, or I see something and I recognize it even though I have no recollection of seeing it before. Whether that’s psychic or not, it reminds me that there is more in the universe than we know.

Fill us in on some of the research topics you explored to write this manuscript?

I read extensively about Albert Einstein’s later years as he searched for the One Theory of Everything, and I poured over the PBS transcripts of the Elegant Strings series. I read about psychics who work with detectives to find lost children, and I reread the Afterlife Experiments, along with material about mediumship. I even researched survivors’ eye-witness accounts of tornados and reviewed my notes from grad school in English studies about William Blake and the Grand Narrative concept of literary criticism. I spent hours online looking up everything I could find about archangels in the Bible, as well as contemporary religious cults. I read about Russian icons and Jesuit scientists and reviewed what I remembered about a Rubik’s cube.

You’ve developed a great story! What’s next in the Archangels series?

Book Two is already finished, tentatively titled Heart and Soul, and it deals with medical science, neurobiology and the power of prayer. The hero is Raphael, or Rafe, as he’s known to my cast of characters, and his story is another roller coaster of deceit, betrayal, murder, forgiveness and redemption.

Lastly, let’s switch gears a bit. If you could attend a meet and greet for any writer living or dead, who would that be and why?

Dr. Seuss, hands down. He was unbelievably creative. I’d love to talk with him about the risks he felt concocting such wacky stories that influenced generations of children and writers.

Where can readers delve into more info about your series? Any social media or websites?

I have a Facebook page dedicated to the Archangel series at https://www.facebook.com/Archangelsseries/ and readers can get a deep look into my research and writing process on my Pinterest board https://www.pinterest.com/jandunlap/archangels-book-one/ . I’m also on Twitter @BirderMurder, on Facebook at Birder Murder Mama, and my author website is jandunlap.com. I write a blog on Goodreads now, too: https://www.goodreads.com/author/show/2100500.Jan_Dunlap/blog

 

 

A Chat with Ann Royal (aka Anna) Nicholas

Ann Royal

In the world of show business, a person who can sing, dance and act is often referred to as a “triple threat”. But what do you get when you mix equal parts of writing, acting, horseback riding, mediating, book publishing, cocktail blogging and an unabashed stash of wicked wit, creativity and compassion? The delightful result is Ann Royal (aka Anna) Nicholas – a woman with so many talents to her credit that I don’t know if even a “centuple threat” label would quite cover everything. Nevertheless, it’s an honorary title we’re happy to bestow on this week’s spotlight guest.

Interviewer: Christina Hamlett

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Q: At what age did you first realize you were a wildly creative being?

A:  At about the age of ten. Something compelled me to create a pair of large crewelwork lips on the derriere of my jeans. I took some heat for it, but I wore those jeans until the lips fell off.

Q: Who (or what) encouraged you to explore every possible avenue of expression?

A: I did a lot wild things in my youth—jumping off the 2nd story of our house so I could ride my bike to the nearest bar that would accept fake I.D.s and that sort of thing. I wonder now how many of those early escapades, including the artistic pursuits—e.g., the “plays” I used to direct in which my younger brothers and sister would star—naked—were spawned by a need for approval and attention from my parents who divorced when I was young. None of us got a lot of attention but I did some rather antic things to try and earn it.

Q: Writing is one of many venues in which you excel. Do you believe that great writers are born or that they must be nurtured to become great?

A: I think anyone, ANYone, can become a better writer through practice, reading and self-discipline; tedious and unremarkable a claim as that is. There’s certainly no pill for it. I also think there are few writers whom all of us believe are truly great. That said, I think most of our “greatest” artists—whether they be singers, dancers, composers, actors, writers—seem to just have something extra.

Q: If you were hosting a posh dinner party to which some of the authors whose work you most admire were invited, who would be on that guest list and which two would you like on either side of you?

A: I’d want an animated conversation so even if I admired an author’s work, I would want to know they’d contribute to a lively evening. On that basis, and without benefit of knowing their verbal skills, I’d prepare a round table for five and invite Kurt Vonnegut because he was so funny and smart and political. I’d seat Jane Austen next to him, because they’d have fun comparing notes on social commentary in fiction. Joan Didion would need to be there because she writes to find out how she feels about things (a reason I write) and I could ask her what she’s discovered. I’d also want JK Rowling next to me because she has done the most amazing job of creating a literary empire and the rest of us could benefit from hearing how she did it. But I don’t know whom I’d choose to sit next to. In fact I think I’d need to switch seats with every course served.

Q: You’ve published the first two books in The Muffia series, a series which you describe as Sex and the City Meets Jane Austen. How did this premise come about and who is your intended audience for it?

A: I am a member of The Muffia—not the group calling itself The Muffia, which represents militant mothers in the UK, women who attack other mothers for poor parenting skills in grocery stores. Nor am I part of the group of lesbian sex workers who absconded with the name. My Muffia is a real-life, Los Angeles-based women’s book club that’s been in existence since 2001. We came together after 9/11, when a lot of us needed our friends. All of us work or have worked, some are mothers, and all of us love to read, have adventures and tell stories.  When one Muff had a torrid affair with a Mossad agent, I could no longer keep myself from writing us down in a book. My readers would feel perfectly at home in my book club, and their husbands, who are curious about what goes on at “book club,” might find The Muffia illuminating.

Q: Which is more challenging for you – to write a stand-alone title in which all (or most) questions are tidily wrapped up or to write a series with sustaining characters that are constantly posing new questions?

A: As a viewer/reader, I don’t like things tied up perfectly because life is never tied up perfectly; unless you’ve successfully gotten through all the steps necessary for a dental implant. But I think in a series, each book has to achieve some sort of finality, otherwise when does it end? I don’t know that either one is more difficult. The genre and story dictate.

Q; Plotter or pantser? And why does your choice best accommodate the way you approach a new project?

A: A little of each. I have a general idea for a story and I put together a rough outline. With each of the Muffia books, there’s a light mystery involved and mysteries need some plotting. If you have a dead body on the first page, and the body belongs to someone important to one of the characters in your book, your reader needs to find out who that person was, how he died and how your living characters deal with it. And you need to have clues appear at critical intervals to heighten or lessen tension because there are always those nagging questions. Literary fiction also needs a plot but it may not need to be quite so driving as in a mystery. Having an outline, with whatever I write—plays included– keeps me headed in a direction even if I take detours. On those days when inspiration isn’t getting me into a chair to write, having a map gets me going.

Q: Like many authors today you’ve sought to maintain more control over your intellectual property by launching Bournos, your own self-publishing imprint. What governed that decision and what has proven to be the biggest challenge in wearing multiple hats?

A: Wearing multiple hats was not my first choice. There was a time I imagined myself typing away in a bathtub (the image of Clifton Webb in Laura comes to mind). My publisher, who was waiting anxiously for my manuscript, would then turn it into a bestseller. Such are the dreams of the unpublished. Like a romance novel whose hero rescues the damsel, or the Calgon slogan “Take me away….” But no, that’s not the way it works these days. When the small publishing house that said it would publish my series not only selected a cover I didn’t like but did less to promote it than I was, I thought I could do a better job myself and wouldn’t owe them anything. It seemed like the best move, even if it took me away from writing. And therein is the biggest challenge, having my attention taken from what I want to do, in order to deal with the business part of selling books.

Q: Is Bournos strictly a platform for your own work or do you publish stories by others?

A; It’s set up to publish the work of others as well, should I ever read a manuscript I feel I can become a champion of. I’ve laid the groundwork in terms of staffing and outsourcing of some tasks, to accommodate other people’s books.

Q: What do you advise fellow authors thinking of going the self-publishing route?

A: First, make sure your book is ready. Beta test it with trusted friends and relations who will tell you the truth. Find editor(s) to polish it. You may need a content editor and/or a copy editor and there’s lots of help online to find these people. Go to writers’ conferences and sit in on the sessions related to self-publishing. You’ll meet other authors, editors and publishers who can give you recommendations. When your book is ready (or concurrently with the editing process), find out what is happening in self-publishing at that very moment. It’s a constantly changing landscape of cover design, formatting, Kindle unlimited vs. other outlets, book blogs, etc., and it can be overwhelming. If you can afford to hire an author’s assistant to help you through it, they are out there too. But get recommendations. As with most people one contracts with, the best people are often the busiest, so make sure you talk timelines.

Q: What are some of the things you’re currently doing to promote your work?

A:  The main thing is to keep writing. Without new content coming out regularly, a writer can die in this marketplace. You can’t really keep saying “Buy my book” when you haven’t written anything new since 1997. These days a writer can’t promote just a book, she needs to promote herself and build a following. It’s what they call branding and it takes time and energy to do. Like a lot of people—women particularly—I don’t enjoy promoting myself, even if I’m great at promoting others. But I’ve become comfortable with tweeting about writing, theatre, horses, cocktails, wine and other things that interest me and the characters in The Muffia.

Q: When you’re not writing or acting, you’re using your law degree as a mediator. Has wordsmithing enabled you to be a better mediator and/or has your legal background influenced your craft as an author?

A: I completely believe we are made up of our corporeal selves and the totality of our experiences, so they feed each other. The narrator of book one in the Muffia series is based on me insofar as she’s an ex-lawyer and underemployed mediator. The contradiction with mediating and writing is that mediation involves reducing conflict, whereas dramatic writing requires it. So when I write, I have to be vigilant not to step in and mediate my characters’ conflicts!

Q: As if your plate weren’t already overflowing, you also manage to squeeze in some horseback riding. Tell us about it.

A: There is no other thing I do that takes me out of my head like being with horses. They don’t let you multi-task, which is a joy, given that the rest of my life requires it. Horses are big, potentially dangerous, and you have to be ready for the unexpected─thinking about plot development when you’re riding isn’t wise. A snake might slither onto the trail causing your horse to rear and dump you before bolting back to the barn. I own a Thoroughbred rescue named Will—aka Wilbur, William, Guillermo and various other endearments. I have been working with him for three years, and yes, I have fallen off in the course of training him to be an Event horse. He and I have recently had a bit of success after overcoming many obstacles involving Will’s sensitive nature, early abuse and health issues. He’s my four-legged partner.

Q: You recently appeared onstage opposite David Selby. For those of us who swooned over his dreamy looks as Quentin, the conflicted werewolf, in Dark Shadows or his turn as Richard Channing, Jane Wyman’s dashing adversary in Falcon Crest, did you ever watch either show? (Just curious.)

A: I was not an aficionado of either show but David is still very handsome. He’s also very kind and a complete professional who is conscientious about his work. And one thing you may not know about David, he is also a published author.

Q: Speaking of things theatrical, you also pen plays. Which do you prefer – writing lines of dialogue that will be read silently or those that will be spoken by actors?

A: That’s a hard one. A writer of novels doesn’t often get to hear how a reader makes sense of the words on the pages she writes, while it’s the actor’s job to do so. I just want people receiving the words to understand and be moved by the character speaking them, even if it’s only in one’s head.

Q: Dream role you’d love to play?

A: It’s changed over time, of course. I did once want to play Juliet. Now I’d most like to originate a role in a fabulous new play, like Jayne Houdyshell in the Tony-nominated The Humans by Stephen Karam. Or Sigourney Weaver’s turn in Durang’s Vanya, Sonya, Masha and Spike.

Q: Many of the best writers I’ve ever known actually got their start treading the boards. What influence did your own acting experience have insofar as developing characters, planning structure and creating conversations amongst personalities in a book?

A: A trained actor needs to understand her character’s motivations. The question of “Why am I saying this now?” comes up a lot in rehearsals. This is a question that needs to be in the mind of the author of novels, too.

Q: Do you ever get writer’s block and, if so, how do you get over it?

A: I write notes to myself constantly and I also record voice memos telling myself what to do. Like having an outline, as mentioned above, giving my brain a job on a given project gives me that opening I need to sit down and begin writing. It’s like giving myself a writing prompt and usually when I do that, I’m off and running. I have, however, read notes I’ve awakened to write in the middle of the night only to find they make no sense for the project I’m working on, nor for anything else. The other day I found a note-to-self that said, “Make Tamra a bat” and I have no idea what that’s about.

Q: What would our readers be the most surprised to learn about you?

A: I eat donuts, my skin is too big for my frame, I don’t write every day, I feel guilty about not showing up for more fundraisers, I take naps, I sometimes have to drag myself to public functions, I like sentimental films, I still have a Cinderella complex and dream of galloping off on a white horse even if I know that’s ridiculous.

Q: What is the oldest, weirdest or most nostalgic item in your closet?

A: I will not part with a Pucci dress that my mother wore in the late 1960s. It still fits me and I absolutely love it. I hope my son has a girlfriend one day whom I can give it to.

Q: What are you currently working on?

A: Too much! I’m writing the third book in The Muffia series entitled Muff Stuff , writing a new play about nosy neighbors and editing a couple of other plays. Unrepresented playwrights usually must submit their own work to fellowships and workshops, so that requires writing too. This year it’s been worth it as two of my plays have been finalists at Sundance, Lila Acheson, Centenary Stages and Playwrights Center.

Q: Where can readers learn more about you?

A: My website, I guess, which is annanicholas.com and if you’re on Facebook I am facebook.com/theannanicholas and facebook.com/annroyalnicholas. I’m on Twitter, Pinterest and Instagram @aroyaln and I blog (where I regularly post cocktails) at themuffia.us.

Q: Anything else you’d like to add?

A: Ten percent of Muffia profits are given to charitable organizations benefitting women and girls. We have contributed to Girls Inc., Step Up and we (the real life Muffia) are always looking to help more.