I tell people there is more to the human life.
My genre is fiction, modern fantasy, visionary & metaphysical.
My Best Likes on Spotify (mostly Chinese).
If you think dragons are a myth, you’ll learn otherwise in these stories. Furthermore, you will learn about the elves, and discover an entire world you didn’t know existed right under your nose.
In her search for material for books, Luzi stumbles upon many secrets and old wisdom, signs of lost ancient knowledge. When searching for truth, one may find love and friendship that one has been looking for, even in places abandoned many years ago, or in realms not of this world.
This Luzi Cane series gives you a unique opportunity to enjoy incredible adventures. You gain so-called lost knowledge, in a world that tries to wake up from its long slumber, but is distracted by the ‘noise’ from the same world. The dragons are awakening, not to destroy us, but to guide us in our quest for a deeper understanding of our place in creation.
In the Julia Wang series, we follow Luzi's daughter, and to some degree, her son, Li, as they grow up and venture out in their own lives, changings the world.
The book, “Writing into the Dark” by Dean Wesley Smith, had inspired me to present my way of writing.
To start a project
I start with an idea, a working title. This idea has an ethnical, but dormant counterpart. As I put words, often the title, into my manuscript, the idea becomes active. This creates a sparkle of consciousness in the imaginative realm. This is how all creations start.
This is intuitive, nonmental writing. My mind doesn’t create the story and is often surprised what is put into the manuscript.
The sparkle becomes a light as it draws more ideas in. Characters emerge with their own personalities and the first contact are very special. Again, it is not a mind thing, but a ‘heart’ thing. I connect and feel the character. Sometimes I know (like in knowingness which isn’t a mind thing), the character is there, but it takes some time or the right conditions in the plot, before it opens and joins the plot. It is quite fascinating.
My way of writing
If the story doesn’t seem to flow, I need to wait for the flow or make another connection for a part ready to flow when I tap into it. You can imagine possibility bubbles coming floating towards the light. If they haven’t docked, they are not accessible. The story is ready for proofreading when the light gives me the sense of it being ready.
I want to tell people there is more to their human lives, well, that there is even more than the life as a human. I use fiction and fantasy to do that.
I use present tense and mostly dialogues. My primary person (antagonist) is the first-person dialogue, and I do not switch into other characters’ minds and feelings, they must show themselves through actions. This way, it presents my descriptions in the present tense in ‘dialogue’ with the reader. The reader and the ‘writer’ experience the story together. The ‘writer’ does not know more than the reader at any point in the story.
(From book 1): My parents met in Hong Kong. My dad is English, and my mum is Chinese. My dad was, and still is a businessman, and my mum worked as a skilled correspondent and a language secretary at my dad's workplace.
I was born in Hong Kong in 1989, grew up there and went to an English school for my earlier years.
I remember my childhood as a happy time. When one or both of my parents were not at work, they spend all their time with me, and later on with my younger sister Anna too. Anna was born when I was six, and now my mother chooses to stay home longer, and my dad brought her some work, she could do at home. I was at school most of the day, and Anna still had a nanny.
My parents always call me the light of their lives, which is why I was named Lucia, Luzi for short. Anna has got her name after our dad’s mum, Hannah. I once asked my parents, why I was not named, Anna, as I was the first born. They both said, “You were not an Anna; you're the light of our life!” After that, I have always been proud of my name.
We were quite wealthy, and the house we lived in was large and with a lot of room. It was an old bungalow applied from dad’s company. We could have had a more modern house, but we all loved the old house with the large garden and wouldn’t dream of getting something else.
Grandma, Hannah and grandpa, William had passed away before I moved to England. In my younger years, they were visiting us in Hong Kong, and later, when Anna was old enough for a long trip, we visit them in England. At that point, they had become older and more fragile, and the last trip they made to China was when Anna became a teenager. I remember Hannah and William as two very gentle and warm grandparents, always kind and with all the time in the world, never rushing and stressed.
I moved from Hong Kong to London in 2007, starting at the University in person. Earlier I have made some online courses but wanted to extend my studies.
I study history, prehistory with a particular interest in Marija Gimbudas’ research of old Europe, ancient cultures in general, ethnographical studies, literature and journalism.
As a source of income, I work as a freelance writer for magazines, papers and on the Web. In addition to that, I work as a copywriter, and as editor of books for the University, collecting data for professors and colleges and help them editing the materials. I also do some book writing, and it is more book writing than book selling, but there is nothing new to that.
As tools in my work I use a smartphone, but while working, I turn off all private messages since they are a huge distraction and significantly reduces my productivity and efficiency. I do not want to be a slave to technology; it has to work FOR me. I do not use games or music on my phone to distract me and cover my thoughts, to me it is pollution. I listen to music in my home for enjoyment, not a distraction. You may shake your head, when I tell you, that I use a paper notebook as well. I use the camera on my phone quite often, a lot of the time to pick up text from various sources. I may use the voice recorder on the phone as well. When I have to write large volumes of text, I need to use a real keyboard, since I use all ten fingers. Otherwise, production will be too low.