Author Copies of Timefall have arrived!


Greetings from Regina! I’m excited to have just received my author copies of Timefall from Five Rivers Publishing. This prairies-based YA fantasy is available for pre-order in paper and e-format now, but the release date is September 1.

Timefall (402 pages in length) is an omnibus combined edition of two YA fantasy novels – Collapse of the Veil, and Crossings – previously released by another Canadian publisher, but now out of print.

Timefall features Katie, a teen mom in present-day Regina whose baby is the long-sought mythic hero of a society a thousand years in our future. Via psychic powers and time travel, Katie inadvertently crosses paths with Iannik, a young Seer with flawed Sight, last of his line in the dwindling population of Aaurenan. Iannik is desperately seeking the baby who offers their only hope for survival. Can three misfit teens and one baby manage to save at least one of their two very different worlds?


The photo below was taken in Victoria Park, downtown Regina, the day the books arrived. This area was destroyed by Regina’s 1912 tornado. Could something similar – only worse – happen in Timefall?

IMG_6650 with Timefall


Regina launch of “Dear Me – The Widow Letters” compiled by Dianne Young

My friend Dianne Young (who was widowed over 3 years ago) has embarked on a courageous book project: “Dear Me – The Widow Letters”.

In this unique book, twenty of us who’ve been widowed wrote letters to our newly-widowed selves – letters of comfort, encouragement, and advice.

Dianne Young put out a call for such letters and selected twenty to include in this volume. She’s received some very nice media coverage and has been on the road for the past week, launching.

This photo is from last night’s Regina launch, showing Dianne (centre); myself (right in photo); and Deana Driver, publisher and also one of the letter writers.

Photo credit: Sharon Plumb Hamilton


CBC Radio interview tomorrow morning, May 28 with Dianne Young on “Dear Me – The Widow Letters”

To follow up on a notice from friend Dianne Young, whose book “Dear Me – The Widow Letters” has recently been released, she and I have CBC radio interview slots tomorrow morning. In this book, twenty widows have written letters to “our newly widowed selves”, letters of comfort and advice.
CBC Radio interview about the widow book tomorrow morning at 8:10 ( in Saskatoon and 8:35 ( in Regina.

Timefall is now scheduled for September 1 release!


Timefall, the new omnibus combined version of Collapse of the Veil and Crossings, has been bumped up to a September 1 release by new (to me) publisher, Five Rivers Publishing. The two original YA fantasy novels were “orphaned” when the initial publisher changed hands and all young adult novels were jettisoned. This publication date came as a surprise to me, for my contract indicated a December 1 release.

I greatly appreciate the interest of Lorina Stephens of Five Rivers in taking on these two books, which developed slowly over a 25+ year span after the initial riveting idea hit in 1984. I also really appreciate the wonderful editing of Dr. Robert Runte, who helped make this new, combined edition even stronger than the original works. ,

Blurbs on the two original novels:

Collapse of the Veil

Collapse of the Veil: “A tenderly urgent journey through time, love, apocalypse, and unexpected hope. Readers will emerge with new insights for our world’s problems and possibilities.”  Sharon Plumb, author of Draco’s Child.

Crossings (Book 2 of the Passage Through Time)

Crossings:  “One world, two very different times, three misfit teens and a baby. Alison Lohans’ spare and certain prose transports us into their journey, pitting love and hope against the coming apocalypse.” Marie Powell, author of Hawk.


Janet Lunn

I was saddened to learn of the death of distinguished Canadian children’s author Janet Lunn, who was a generous mentor who helped shape my early work during her term as Writer-in-Residence at Regina Public Library, 1982-83. During that time Janet read virtually all of my work, offering good advice and friendship, and was there in her office when I ran in to show her my first published book. Thanks, Janet, for all that you offered.

Acts of Inspiration and Desperation: (Making) Helping It Happen on the Page

So you’re sitting there, staring at your screen. And it’s not happening. Ideas are soaring, ready to take shape. Words get jotted, but important links elude every attempt at capture. You want so badly to get it down, and after a while you feel like an idiot with so little in the way of tangible results.

Or another scenario: You’re sitting there, staring at your screen. A deadline is looming. It isn’t happening. Word by painful word you creep through a minefield. Knowing that it’s awful, paralytic caution stalls every aspect of your process. Your inner critic jeers: “You? A writer?”

Maybe there’s more than a little performance anxiety here. We “know intuitively” that “Other Writers Don’t Have to Struggle”, and we have a track record to uphold. We want to project a sense of proficiency and ease – an ambience of beauty, entertainment, or conviction that engages a reader. There’s that inescapable awareness of self embodied within our text, and text as representative of self. But already we’ve overstepped – how can there be readers if the writing doesn’t get finished?

We all know writing can be intense work, and that on occasion we must grind it out. Conscious of the 10% inspiration/90% perspiration formula, we force ourselves to “make” it happen. Given increased muscle tension and reduced circulation as we sit frozen at our keyboards, is it any surprise that we start feeling blocked?

So how do we avoid tying ourselves up in knots? How can we “help” it happen?

A clear understanding of our individual writing processes allows us build upon our strengths. Do you (e.g.):

  • outline?
  • web?
  • latch onto the energy of strong characters and images and follow where they lead? (the “pantser”)
  • problem-solve?
  • write quickly and produce a complete draft before revising? Donald Murray (The Writer, 1992) is an advocate: “I need to speed ahead of the censor and write so fast that my velocity causes the accidents of insight and language that make good writing.”
  • write slowly, savouring words – their sounds and textures, as well as their meanings – in an attempt to paint a clear picture from the start?

Self-knowledge, including expectations of yourself and knowing what gives you feelings of accomplishment, allows you to expand your comfort zone and to wean yourself from unproductive habits. Awareness of your writing environment is important. Where, and when, do you work best? Our bodies are part of the equation too. (One word should suffice: “Exercise!”)

A playful attitude can bring spontaneity to our writing. The links between play and creativity are many. Play, according to Frost, is spontaneous, intrinsically motivated, process oriented, and fun (“Toward an integrated theory of play”, 1985). Play and fear cannot coexist. Work, in contrast, may be forced, extrinsically motivated, and goal oriented. Writing falls somewhere between the two. If payment and deadlines are involved, we’re working, while writing for personal pleasure is a form of play. In both instances we can enjoy the excitement of inspiration, exploration and discovery that accompany the crafting of something new. At times we slip into “flow”      (Csikszentmihalyi), wholly immersed in what we’re doing and unaware of our surroundings. On these occasions we are “in the now”, a place the inner critic doesn’t go.

Many activities can empower our writing:

  • Free-associate – free-write, draw pictures, diagrams and maps of your topic. This can be liberating, and may provide further inspiration or direction for your story, poem, essay or play. Each piece, with its unique energy, may “know” things that you, the writer, don’t fully comprehend. (I sometimes ask questions of my characters, and find their “replies” are insightful. A friend asks her story what it needs.)
  • Morning pages and journal writing clear up mental and emotional clutter, opening more psychic space for creative work.
  • Exercise.
  • Make places where you can jot down random ideas (e.g., notes on the fridge, notebook on the car seat).
  • Pace yourself. Set a series of attainable deadlines. Isolate individual tasks; take quick action on the “small stuff”. Build in guilt-free rewards (e.g., a coffee break away from home; a social media break).
  • Vary your routines. H.G. Wells’ suggestion has merit: “If you are in difficulties with a book, try the element of surprise: attack it at an hour when it isn’t expecting it.”
  • Cultivate time for silences.
  • Envision your work as real.
  • Focus on “doing” rather than “trying”.

And there are some things to avoid:

  • Unnecessary compulsions (e.g., social media; email; computer games – which can be built in as mini-rewards, rather than allowing them to dominate.)
  • Excessive self-editing – we need trust our instincts as to when our piece is finally ready, and then let it go!
  • Negativity

When we write, we seek illumination and ready access to craft – but sometimes all we have is a flashlight, or maybe a 40 watt bulb in a large room. It might even be a firefly darting above the grass, at dusk. When we trust ourselves, our writing also becomes an act of faith.


Copyright Alison Lohans

This article was published in FreeLance in 2006.

Regina-authored Children’s Book Sale Today December 17, Victoria Square Mall

Happening right now – December 17 – at Victoria Square Mall:  CANSCAIP-SK, a group of professional Regina children’s writers is having a book sale, until 5:30 p.m. (Come in through the Coliseum entrance.)

Participating writers include myself, Judith Silverthorne, Sharon Plumb, Marie Powell, and Warren James.

The photos here were taken during our set-up this morning.


I’ve recently finished revising my second previously-published book for re-release by a different publisher. The whole process – seeing my work through yet another lens, after having spent well over ten years working the book to a polished draft prior to submissions, and then going through it with the editor of the original publishing house – has been an eye-opening experience. During this time I’ve also seen good friends working hard at their own revisions in fervent hopes of their creative “child” finding its home in the publishing world.

How do we know when a book is finally “ready”? During this process with Timefall (which is the new title for the combined Collapse of the Veil and Crossings), I was shocked on more than a few occasions by things that had slipped past me during those ten-plus years of work, and had also slipped by the first editor. These different sets of eyes (I’s?) all come to a manuscript with subjective lenses, and these multiple perspectives quickly demonstrate the value of critiquing in a writers’ group. We all laugh when caught red-faced: “But isn’t it obvious? I can see it all in my head!”

I’d always figured I was reasonably good with characters, and their motivations and goals, so it was quite a surprise to see in the Track Changes margin: “Out of character”. Fortunately this mostly happened with the secondary characters. But it’s a clear reminder that ALL of our characters need to be in our story for specific reasons, each with their own agendas, and flaws, that drive the conflict arc of the character-driven novel. “Out of character!” was a useful reminder to examine what a character’s response would actually be, and how long that response would play out – and working out a more realistic response led me to subtle shifts that freshened the protagonist’s response as well.

And … responses? Oops! Character X said/did something. Why didn’t Character Y respond? Caught up in one character’s point of view, and with the scene goal in sight, umm…..maybe things got rushed ahead just a little too fast, without honouring the perspective of Character Y? Definitely worth thinking about…

The choreography within a scene, again in the Track Changes balloon: “And Tyler is where?” This round of re-revisions got me looking long and hard at the mother-instinct not only in my teen mom protagonist, but also in her mother. The baby is a pivotal character in the book, and needed to be accounted for in all the scenes where he is present. Oops…. And lo and behold, in a high drama scene where (this time around) I caught myself on two giant faux pas that the present (excellent) editor didn’t catch…whoa! There those Big Issues were, staring me in the face. By honouring each character’s integrity in the height of the emergency, the way unfolded to show both characters in realistic action together; this, in turn, also served to reinforce a tentative reconciliation. The shifts needed to play this out were amazingly simple to work in and, better yet, had all my characters accounted for. It is so easy for characters to fade out of a scene before they’ve actually exited. So this was another wake-up call:  Characters are in a scene for a reason. If we’ve put them there, they need to have a tangible role to play whether it’s a speaking part or an action part. If they’re a secondary character, their presence has to have some kind of impact on what the protagonist is doing. And if the secondary characters happen to be more articulate/active than a more-reserved protagonist, our protagonist still must be truly “present” in a sensory and mental way, rather than simply to listen to what the other guys are all talking about.

When is a manuscript truly ready? Such a tough question! Sometimes deadlines will get us up and hopping, maybe with a hint of panic. If we stop and second-guess ourselves too many times, searching for the right word, the most evocative image, we can take the proverbial “forever” to get done – and too much of this can kill the spark that ignited earlier drafts. Yikes…we don’t want to do that! When considering this question nearly forty years ago I used certain criteria, and for the most part I still adhere to them: If it’s as good as I can possibly make it; if I still get excited (re)reading it (for the umpteenth time!) and can experience my narrative through the emotional lens of my protagonist and in a sensory way; if I’ve read chunks of it aloud to my computer monitor and the words sound pleasing and have a good feel on my tongue, then yes, maybe it’s okay to let it go. That is, of course, after careful scrutiny:  Are the characters believable, and consistent? Is the plot believable, and the goal worthwhile? Is there strong enough motivation, with further conflict arising from the interplay of the characters’ diverse goals and motivations? Is there a satisfying resolution that resonates beyond “The End”? Yes? Then maybe it’s okay to hit send.

But maybe a book is never truly finished. For once it’s out there in the world, it will be re-created every time a reader plunges into our story – through yet another set of eyes.