Podcasts about Bread Loaf

How do you build a creative life that spans music, writing, film, and spiritual practice? Alicia Jo Rabins talks about weaving multiple creative strands into a sustainable career and why the best advice for any creator might simply be: just make the thing. In the intro, backlist promotion strategy [Written Word Media]; Successful author business [Novel Marketing Podcast]; Alliance of Independent Authors Indie Author Bookstore; Bones of the Deep – J.F. Penn This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Building a sustainable multi-disciplinary creative career through teaching, performance, grants, and donations Trusting instinct in the early generative stages of creativity and separating generation from editing Adapting and reimagining religious and cultural source material through music, writing, and performance The challenges of transitioning from poetry to long-form prose memoir, including choosing a lens for your story Making an independent film on a shoestring budget without waiting for Hollywood's permission Finding your creative voice and building confidence by leaning into vulnerability and returning to the practice of making You can find Alicia at AliciaJo.com. Transcript of the interview with Alicia Jo Rabins Joanna: Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. So welcome to the show, Alicia. Alicia: Thank you so much. I'm delighted to be here. Joanna: There is so much we could talk about. But first up— Tell us a bit more about you and how you've woven so many strands of creativity into your life and career. Alicia: Yes, well, I am a maximalist. What happened in terms of my early life is that I started writing on my own, just extremely young. I'm one of those people who always loved writing, always processed the world and managed my emotions and came to understand myself through writing. So from a very young age, I felt really committed to writing. Then I had the good fortune that my mother saw a talk show about the Suzuki method of learning violin—when you start really young and learn by ear, which is modelled after language learning. It's so much less intellectual and much more instinctual, learning by copying. She was like, that looks like a cool thing. I was three years old at the time and she found out that there was a little local branch of our music conservatory that had a Suzuki violin programme. So when I was three and a half, getting close to four, she took me down and I started playing an extremely tiny violin. Joanna: Oh, cute! Alicia: Yes, and because it was part of this conservatory that was downtown, and we were just starting at the suburban branch where we lived, there was this path that I was able to follow. As I got more and more interested in violin, I could continue basically up through the conservatory level during high school. So I had a really fantastic music education without any pressure, without any expectations or professional goals. I just kept taking these classes and one thing led to another. I grew up being very immersed in both creative writing and music, and I think just having the gift of those two parts of my brain trained and stimulated and delighted so young really changed my brain in some ways. I'll always see the world through this creative lens, which I think I'm also just set up to do personally. Then the last step of my multi-practice career is that in college I got very interested in Jewish spirituality. I'm Jewish, but I didn't grow up very religious. I didn't grow up in a Jewish community really. So I knew some basics, but not a ton. In college I started to study it and also informally learned from other people I met. I ended up going on a pretty intense spiritual quest, going to Jerusalem and immersing myself after college for two years in traditional Jewish study and practice. So that became the third strand of the braid that had already been started with music and writing. Torah study, spiritual study, and teaching became the third, and they all interweave. The last thing I'll say is that because I work in both words and music, and naturally performance because of music, it began to branch a little bit into plays, theatre, and film, just because that's where the intersection of words, performance, and music is. So that's really what brought me into that, as opposed to any specific desire to work in film. It all happened very organically. Joanna: I love this. This is so cool. We are going to circle back to a lot of this, but I have to ask you— What about work for money at any point? How did this turn into more than just hobbies and lifestyle? Alicia: Yes, absolutely. Well, I'm very fortunate that I did not graduate college with loans because my parents were able to pay for college. That was a big privilege that I just want to name, because in the States that's often not the case. So that allowed me to need to support myself, but not also pay loans, which was a real gift. What happened was I went straight from college to that school in Jerusalem, and there I was on loans and scholarship, so I didn't have to worry yet about supporting myself. Then when I came back to the States, I actually found on Craigslist a job teaching remedial Hebrew. It was essentially teaching kids at a Jewish elementary school who either had learning differences or had just entered the school late and needed to be in a different Hebrew class than the other kids in their grade. That was my first experience of really teaching, and I just absolutely fell in love with it. Although in the end, my passion is much more for teaching the text and rituals and the wrestling with the concepts, as opposed to teaching language. So all these years, while doing performance and writing and all these things, I have been teaching Jewish studies. That has essentially supported me, I would say, between 50 and 70 per cent. Then the rest has been paid gigs as a musician, whether as a front person leading a project or as what we call a sideman, playing in someone else's band. Sometimes doing theatre performances, sometimes teaching workshops. That's how I've cobbled it together. I have not had a full-time job all these years and I have supported myself through both earned income and also grants and donations. I've really tried to cultivate a little bit of a donor base, and I took some workshops early on about how to welcome donations. So I definitely try to always welcome that as well. Joanna: That is so interesting that you took a workshop on how to welcome donations. Way back in, I think 2013, I said on this show, I just don't know if I can accept people giving to support the show. Then someone on the podcast challenged me and said, but people want to support creatives. That's when I started Patreon in 2014. It was when The Art of Asking by Amanda Palmer came out and— It was this realisation that people do want to support people. So I love that you said that. Alicia: It's not easy. It's still not easy for me, and I have to grit my teeth every time I even put in my end-of-year newsletter. I just say, just a reminder that part of what makes this possible is your generous donations, and I'm so grateful to you. It's not easy. I think some people enjoy fundraising. I certainly don't instinctively enjoy it, but I have learned to think of it exactly the way that you're saying. I mean, I love donating to support other people's projects. Sometimes it's the highlight of my day. If I'm having a bad day and someone asks for help, either to feed a family or to complete a creative project, I just feel like, okay, at least I can give $36 or $25 and feel like I did something positive in the last hour, even if my project is going terribly and I'm in a fight with my kid or something. So I have to keep in mind that it is actually a privilege to give as well as a privilege to receive. Joanna: Absolutely. So let's get back into your various creative projects. The first thing I wanted to ask you, because you do have so many different formats and forms of your creativity—how do you know when an idea that comes to you should be a song, or something you want to do as a performance, or written, or a film? Tell us a bit about your creative process. Because a lot of your projects are also longer-term. Alicia: Yes. It's funny, I love planning and in some ways I'm an extreme planner. I really drive people in my family bonkers with planning, like family vacations a year in advance. In terms of my creativity, I'm very planful towards goals, but in that early generative state, I am actually pure instinct. I don't think I ever sit down and say, “I have this idea, which genre would it match with?” It's more like I sit on my bed and pick up my guitar, which is where I love to do songwriting, just sitting on my bed cross-legged, and I pick up my guitar and something starts coming out. Then I just work with that kernel. So it's very nebulous at first, very innate, and I just follow that creative spirit. Often I don't even know what a project is, sometimes if it's a larger project, until a year or two in. Once things emerge and take shape, then my planning brain and my strategy brain can jump on it and say, “Okay, we need three more songs to fill out the album, and we need to plan the fundraising and the scheduling.” Then I might take more of an outside-in approach. At the beginning it's just all instinct. Joanna: So if you pick up your guitar, does that mean it always starts in music and then goes into writing? Or is that you only pick up a guitar if it's going to be musical? Alicia: I think I'm responding to what's inside me. It's almost like a need, as opposed to, “I'm going to sit down and work.” I mean, obviously I sit down and work a lot, but I think in that early stage of anything, it's more like my fingers are itching to play something, and so I sit down and pick up my guitar. Sometimes nothing comes out and sometimes the kernel of a song comes out. Or I'm at a café, and I often like to write when I'm feeling a little bit discombobulated, just to go into the complexity of things or use challenging emotions as fuel. I really do use it as a—I don't know if therapeutic is the word, but I think it maybe is. I write often, as I always have, as I said before, to understand what I'm thinking. Like Joan Didion said—to process difficult emotions, to let go of stuck places. So I think I create almost more out of a sense of just what I need in the moment. Sometimes it's just for fun. Sometimes picking up a guitar, I just have a moment so I sit down and mess around. Sometimes it's to help me struggle with something. It doesn't always start in music. That was a random example. I might sit down to write because I have an hour and I think, I haven't written in a while. Or I do have an informal daily writing thing where I'll try to generate one loose draft of something a day, even if it's only ten pages. I mean, sorry, ten words. Joanna: I was going to say! Alicia: No, no. Ten words. I'm sorry. It's often poetry, so it feels like a lot when it's ten words. I'll just sit down with no pressure, no goal, no intention to make anything specific. Just open the floodgates and see what comes out. That's where every single project of mine has started. Joanna: Yes, I do love that. Obviously, I'm a discovery writer and intuitive, same as you. I think very much this idea of, especially when you said you feel discombobulated, that's when you write. I almost feel like I need that. I'm not someone who writes every day. I don't do ten lines or whatever. It's that I'll feel that sense of pressure building up into “this is going to be something.” I will really only write or journal when that spills over into— “I now need to write and figure out what this is.” Alicia: Yes. It's almost a form of hunger. It feels to me similar to when you eat a great meal and then you're good for a while. You're not really thinking of it, and then it builds up, like you said, and then there's a need—at least the first half of creativity. I really separate my generation and my editing. So my generative practice is all openness, no critique, just this maybe therapeutic, maybe curious, wandering and seeing what happens. Then once I have a draft, my incisive editing mind is welcome back in, which has been shut out from that early process. So that's a really different experience. Those early stages of creativity are almost out of need more than obligation. Joanna: Well, just staying with that generative practice. Obviously you've mentioned your study of and practice of Jewish tradition and Jewish spirituality. Steven Pressfield in his books has talked about his prayer to the muse, and I've got on my wall here—I don't talk about this very often, actually — I have a muse picture, a painting of what I think of as a muse spirit in some form. So do you have any spiritual practices around your generative practice and that phase of coming up with ideas? Alicia: I love that question, and I wish I had a beautiful, intentional answer. My answer is no. I think I experience creativity as its own spiritual practice itself. I do love individual prayer and meditation and things like that, but for me those are more to address my specifically spiritual health and happiness and connectedness. I'm just a dive-in kind of person. As a musician, I have friends who have elaborate backstage rituals. I have to do certain things to take care of my voice, but even that, it's mostly vocal rest as opposed to actively doing things. There's a bit of an on/off switch for me. Joanna: That's interesting. Well, I do want to ask you about one of your projects, this collaboration with a high school on a musical performance, I Was a Desert: Songs of the Matriarchs, and also your Girls in Trouble songs about women in the Torah. On your website, I had a look at the school, the high school, and the musical performance. It was extraordinary. I was watching you in the school there and it's just such extraordinary work. It very much inspired me—not to do it myself, but it was just so wonderful. I do urge people to go to your website and just watch a few minutes of it. I'm inspired by elements of religion, Christian and Jewish, but I wondered if you've come up against any issues with adaptation—respecting your heritage but also reinventing it. How has this gone for you. Any advice for people who want to incorporate aspects of religion they love but are worried about responses? Alicia: Well, I have to say, coming from the Jewish tradition, that is a core practice of Judaism—reinterpreting our texts and traditions, wrestling with them, arguing with them, reimagining them. I don't know if you're familiar with Midrash, but just in case some of your listeners aren't sure I'll explain it. There's essentially an ancient form of fanfic called Midrash, which was the ancient rabbis, and we still do it today, taking a biblical story that seems to have some kind of gap or inconsistency or question in it and writing a story to fill that gap or recast the story in an interestingly different light. So we have this whole body of literature over thousands of years that are these alternate or added-on adventures, side quests of the biblical characters. What I'm doing from a Jewish perspective is very much in line with a traditional way of interacting with text. I've certainly never gotten any pushback, especially as I work in progressive Jewish communities. I think if I were in an extremely fundamentalist community, there would be a lot of different issues around gender and things like that. The interpretive process, even in those communities, is part of how we show respect for the text. When I was working with the high school—and I just want to call out the choir director, Ethan Chen, who has an incredible project where he brings in a different artist every two years to work with the choir, and they tend to have a different cultural focus each time. He invited me specifically to integrate my songwriting about biblical women with his amazing high school choir. I was really worried at first because most of them are not Jewish—very few of them, if any. I wanted to respect their spiritual paths and their religious heritages and not impose mine on them. So I spent a lot of time at the beginning saying, this project has religious source material, but essentially it is a creative reinterpretive project. I am not coming to you to bring the religious material to you. I'm coming to take the shared Hebrew Bible myths and then reinterpret those myths through a lens of how they might reflect our own personal struggles, because that's always my approach to these ancient stories. I wanted to really make that clear to the students. It was such a joy to work with them. Joanna: It's such an interesting project. Also, I find with musicians in general this idea of performance. You've written this thing—or this thing specifically with the school—and it doesn't exist again, right? You're not selling CDs of that, I presume. Whereas compared to a book, when we write a book, we can sell it forever. It doesn't exist as a performance generally for an author of a memoir or a novel. It carries on existing. So how does that feel, the performance idea versus the longer-lasting thing? I mean, I guess the video's there, but the performance itself happened. Alicia: I do know what you mean. Absolutely. We did, for that reason, record it professionally. We had the sound person record it and mix it, so it is available to stream. I'm not selling CDs, but it's out there on all the streaming services, if people want to listen. I do also have the scores, so if a choir wanted to sing it. The main point that you're making is so true. I think there's actually something very sacred about live performance—that we're all in the moment together and then the moment is over. I love the artefacts of the writing life. I love writing books. I love buying and reading books and having them around, and there's piles of them everywhere in this room I'm standing in. I feel like being on stage, or even teaching, is a very spiritual practice for me, because it's in some ways the most in-the-moment I ever am. The only thing that matters is what's happening right then in that room. It's fleeting as it goes. I'm working with the energy in the room while we're there. It's different every time because I'm different, the atmosphere is different, the people are different. There's no way to plan it. The kind of micro precision that we all try to bring to our editing—you can't do that. You can practice all you want and you should, but in the moment, who knows? A string breaks or there's loud sound coming from the other room. It is just one of those things. I love being reminded over and over again of the truth that we really don't control what happens. The best that we can do is ride it, surf it, be in it, appreciate it, and then let it go. Joanna: I think maybe I get a glimpse of that when I speak professionally, but I'm far more in control in that situation than I guess you were with—I don't know how many—was it a hundred kids in that choir? It looked pretty big. Alicia: It was amazing. It was 130 kids. Yes. Joanna: 130 kids! I mean, it was magic listening to it. And yes, of course, showing my age there with buying a CD, aren't I? Alicia: Well, I do still sell some CDs of Girls in Trouble on tour, because I have a bunch of them and people still buy them. I'm always so grateful because it was an easier life for touring musicians when we could just bring CDs. Now we have to be very creative about our merch. Joanna: Yes, that's a good point because people are like, “Oh yes, I'll scan your QR code and stream it,” but you might not get the money for that for ages, and it might just be five cents or whatever. Alicia: Streaming is terrible for live musicians. I mean, I don't know if you know the site Bandcamp, but it's essentially self-publishing for musicians. Bandcamp is a great way around that, and a lot of independent musicians use it because that's a place you can upload your music and people can pay $8 for an album. They can stream it on there if they want, or they can download it and have it. But, yes, it's hard out there for touring musicians. Joanna: Yes, for sure. Well, let's come to the book then. Your memoir, When We Are Born We Forget Everything. Tell us about some of the challenges of a book as opposed to these other types of performances. Alicia: Well, I come out of poetry, so that was my first love. That's what I majored in in college. That's what my MFA is in. Poetry is famously short, and I'm not one of those long-form poets. I have been trained for many years to think in terms of a one-page arc, if at all. Arc isn't even really a word that we use in poetry. So to write a full-length prose book was really an incredible education. Writing it basically took ten years from writing to publication, so probably seven years of writing and editing. I felt like there was an MFA-equivalent process in the number of classes I took, books I read, and work that went into it. So that was one of my main joys and challenges, really learning on the job to write long-form prose coming out of poetry. How to keep the engine going, how to think about ending one chapter in a way that leaves you with some torque or momentum so that you want to go into the next chapter. How many characters is too many? Who gets names and who doesn't? Some of these things that are probably pretty basic for fiction writers were all very new to me. That was a big part of my process. Then, of course, poets don't usually have agents. So once it was done, I began to query agents. It was the normal sort of 39 rejections and then one agent who really understood what I was trying to do. She's incredible, and she was able to sell the book. The longevity of just working on something for that long—I have a lot of joy in that longevity—but it does sometimes feel like, is this ever going to happen, or am I on a fool's errand? Joanna: I guess, again, the difference with performance is you have a date for the performance and it's done then. I suppose once you get a contract, then for sure it has to be done. But memoir in particular, you do have to set boundaries, because of course your life continues, doesn't it? So what were the challenges in curating what went into the book? Because many people listening know memoir is very challenging in terms of how personal it can be. Alicia: Yes, and one thing I think is so fascinating about memoir is choosing which lens to put on your story, on your own story. I heard early on that the difference between autobiography and memoir is that autobiography tries to give a really comprehensive view of a life, and memoir is choosing one lens and telling the story of a life through that lens, which is such a beautiful creative concept. I knew early on that I wanted this to be primarily a spiritual memoir, and also somewhat of an artistic memoir, because my creativity and my spirituality are so intertwined. It started off being spiritual, and also about my musical life, and also about my writing life. In the end, I edited out the part about my writing life, because writing about writing was just too navel-gazing. So there's nothing in there about me coming of age as a writer, which used to be in there, but that whole thing got taken out. Now it's spiritual and musical. For me, it really helped to start with those focuses, because I knew there may be things that were hugely important in my life, absolutely foundational, that were not really going to be either mentioned or gone deeply into in the book. For example, my husband teases me a lot about how few pages and words he gets. He's very important in my life, but I actually met him when I was 29, and this book really mainly takes place in the years leading up to that. There's a little bit of winding down in the first few years of my thirties, but this is not a book about my life with him. He is mentioned in it. That story is in there. Having those kinds of limitations around the canvas—there's a quote, I forget if it was Miranda July, but somebody said something like, basically when you put a limitation on your project, that's when it starts to be a work of art. Whatever it is, if you say, “I'm taking this canvas and I'm using these colours,” that's when it really begins, that initial limitation. That was very helpful. Joanna: It's also the beauty of memoir, because of course you can write different memoirs at different times. You can write something about your writing life. You can write something else about your marriage and your family later on. That doesn't all have to be in one book. I think that's actually something I found interesting. And I would also say in my memoir, Pilgrimage, my husband is barely mentioned either. Alicia: Does he tease you too? Joanna: No, I think he's grateful. He is grateful for the privacy. Alicia: That's why I keep saying, you should be grateful! Joanna: Yes. You really should. Like, maybe stop talking now. Alicia: Yes, exactly. I know. Marriage, memoir—those words should strike fear into his heart. Joanna: They definitely should. But let's just come back. When I look at your career— You just seem such an independent creative, and so I wondered why you decided to work with a traditional publisher instead of being an independent. How are you finding it as someone who's not in charge of everything? Alicia: It's a great question. The origin story for this memoir is that I was actually reading poetry at a writing conference called Bread Loaf in the States. This was 16 years ago or something. I was giving a poetry reading and afterwards an agent, not my agent, came up to me and said, you know, you have a voice. You should try writing nonfiction because you could probably sell it. Back to your question about how I support myself, I am always really hustling to make a living. It's not like I have some separate well-paying job and the writing has no pressure on it. So my ears kind of perked up. I thought, wait, getting paid for writing? Because poetry is literally not in the world. It's just not a concept for poets. That's not why we write and it's not a possibility. So a little light turned on in my brain. I thought, wow, that could be a really interesting element to add to my income stream, and it would be flexible and it would be meaningful. For a few years I thought, what nonfiction could I write? And I came up with the idea of writing a book about biblical women from a more scholarly perspective, because I teach that material and I've studied it. I went to speak to another agent and she said, well, you could do that, but if you actually want to sell a book, it's going to have to be more of a trade book. So if you don't want an academic press, which wouldn't pay very much, you would have to have some kind of memoir-like stories in there to just sweeten it so it doesn't feel academic. So then I began writing a little bit of spiritual memoir. I thought, okay, well, I'll write about a few moments. Then once I started writing, I couldn't stop. The floodgates really opened. That's how it ended up being a spiritual memoir with interwoven stories of biblical women. It became a hybrid in that sense. I knew from the beginning that this project—for all my saying earlier that I never plan anything and only work on instinct, I was thinking as I said that, that cannot be true. This time, I actually thought, what if, instead of coming from this pure, heart-focused place of poetry, I began writing with the intention of potentially selling a book? The way my fiction writer friends talked about selling their books. So that was always in my mind. I knew I would continue writing poetry, continue publishing with small presses, continue putting my own music out there independently, but this was a bit of an experiment. What if I try to interface with the publishing world, in part for financial sustainability? And because I had a full draft before I queried, I never felt like anyone was telling me what to write. I can't imagine personally selling a book on proposal, because I do need that full capacity to just swerve, change directions, be responsive to what the project is teaching me. I can't imagine promising that I'll write something, because I never know what I'll write. But writing at least a very solid draft first, I'm always delighted to get notes and make polish and rewrite and make things better. I took care of that freedom in the first seven years of writing and then I interfaced with the agent and publisher. Joanna: I was going to say, given that it's taken you seven to ten years to do this and I can't imagine that you're suddenly a multimillionaire from this book. It probably hasn't fulfilled the hourly rate that perhaps you were thinking of in terms of being paid for your work. I think some people think that everyone's going to end up with the massive book deal that pays for the rest of their life. I guess this book does just fit into the rest of your portfolio career. Alicia: Yes. One of the benefits of these long arcs that I like to work on is, one of them—and probably the primary one—is that the project gets to unfold on its own time. I don't think I could have rushed it if I wanted. The other is that it never really stopped me from doing any of my other work. Joanna: Mm-hmm. Alicia: So it's not like, oh, I gave up months of my life and all I got was this advance or something. It's like, I was living my life and then when I had a little bit of writing time—and I will say, it impacted my poetry. I haven't written as much poetry because I was working on this. So it wasn't like I just added it on top of everything I was already doing, but it was a pleasure to just switch to prose for a while. It was just woven into my life. I appreciated having this side project where no one was waiting for it. There were no deadlines, there was no stress around it, because I always have performances to promote and due dates for all kinds of work. It was just this really lovely arena of slow growth and play. When I wanted a reader, I could do a swap with a writer friend, but no one was ever waiting for it on deadline. So there's actually a lot of pleasure in that. Then I will say, I think I've made more from selling this than my poetry. Probably close to ten times more than I've ever made from any of my poetry. So on a poetry scale, it's certainly not going to pay for my life, but it actually does make a true financial difference in a way that much of my other work is a little more bit by bit by bit. It's actually a different scale. Joanna: Well, that's really good. I'm glad to hear that. I also want to ask you, because you've done so many things, and— I'm fascinated by your independent film, A Kaddish for Bernie Madoff. I have only watched the trailer. You are in it, you wrote it, directed it, and it's also obviously got other people in, and it's fascinating. It's about this particular point in history. I've written quite a lot of screenplay adaptations of my novels, and I've had some various amounts of interest, but the whole film industry to me is just a complete nightmare, far bigger nightmare than the book industry. So I wonder if you could maybe talk about this, because it just seems like you made a film, which is so cool. Alicia: Oh yes, thank you. Joanna: And it won awards, yes, we should say. Alicia: Did we win awards? Yes. It really, for an extremely low-budget indie film, went far further than my team and I could ever have imagined. I will say I never intended to make a film. Like most of the best things in my life, it really happened by accident. When I was living in New York— I lived there for many years—the 2008 financial collapse happened and I happened to have an arts grant that gave a bunch of artists workspace, studio space, in essentially an abandoned building in the financial district. It was an empty floor of a building. The floor had been left by the previous tenant, and there's a nonprofit that takes unused real estate in the financial district and lets artists work in it for a while. So I was on Wall Street, which was very rare for me, but for this year I was working on Wall Street. Even though I was working on poems, the financial collapse happened around me, and I did get inspired by that to create a one-woman show, which was more of a theatre show. That was already a huge leap for me because I had no real theatre experience, but it was experimental and growing out of my poetry practice and my music. It was a musical one-woman show about the financial collapse from a spiritual perspective, apparently. So I performed that. I documented it, and then a friend who lives in Portland, Oregon, where I now live, said, “I'm a theatre producer, I'd like to produce it here.” So then I rewrote it and did a run here in Portland of that show. Essentially, I started to tour it a little bit, but I got tired of it. It was too much work and it never really paid very much, and I thought, this is impacting my life negatively. I just want to do a really good documentation of the show. So I wanted to hire a theatre documentarian to just document the show so that it didn't disappear, like you were saying before about live performance. But one of the people I talked to actually ended up being an artistic filmmaker, as opposed to a documentarian. She watched the archival footage, just a single camera of the show, and said, “I don't think you should do this again and film it with three cameras. I think you should make it into a feature film. And in fact, I think maybe I should direct it, because there's all this music in it and I also direct music videos.” We had this kind of mind meld. Joanna: Mm. Alicia: I never intended to make a film, but she is a visionary director and I had this piece of IP essentially, and all the music and the writing. We adapted it together. We did it here in Portland. We did all the fundraising ourselves. We did not interface with Hollywood really. I think that would be, I just can't imagine. I love Hollywood, but I'm not really connected, and I can't imagine waiting for someone to give us permission or a green light to make this. It was experimental and indie, so we just really did it on the cheap. We had an amazing producer who helped us figure out how to do it with the budget that we had. We worked really hard fundraising, crowdfunding, asking for donations, having parties to raise money, and then we just did it and put it out there. I think my main advice—and I hear this a lot on screenwriting podcasts—is just make the thing. Make something, as opposed to trying to get permission to make something. Because unless you're already in that system, it's going to be really hard to get permission to make it. Once you make something, that leads to something else, which leads to something else. So even if it's a very short thing, or even if it's filmed on your phone, just actually make the thing. That turned out to be the right thing for us. Joanna: Yes, I mean, I feel like that is what underpins us as independent creatives in general. As an independent author, I feel the same way. I'm never asking permission to put a book in the world. No, thank you. Alicia: Exactly. We have a vision and we do it. It's harder in some ways, but that liberation of being able to really fully create our vision without having to compromise it or wait for permission, I think it's such a beautiful thing. Joanna: Well, we're almost out of time, but I do want to ask you about creative confidence. Alicia: Hmm. Joanna: I feel I'm getting a lot of sense about this at the moment, with all the AI stuff that's happening. When you've been creating a long time, like you and I have, we know our voice and we can lean into our voice. We are creatively confident. We'll fail a lot, but we'll just push on and try things and see what happens. Newer creators are struggling with this kind of confidence. How do I know what is my voice? How do I know what I like? How do I lean into this? So give us some thoughts about how to find your voice and how to find that creative confidence if you don't feel you have it. Alicia: I love that. One thing I will say is that I always think whatever is arising is powerful material to create from. So if a lack of confidence is arising, that's a really powerful feeling to directly explore and not just try to ignore. Although sometimes one has to just ignore those feelings. But to actually explore that feeling, because AI can't have that, right? AI can't really feel a crisis of confidence, and humans can. So that's a gift that we have, those kinds of sensitivities. I think to go really deep into whatever is arising, including the sense that we don't have the right to be creating, or we're not good enough, or whatever it is. Then I always do come back to a quote. I think it might have been John Berryman, but I'm forgetting which poet said it. A younger poet said, “How will I ever know if I'm any good?” And this famous poet said something like—I'm paraphrasing—”You'll never know if you're any good. If you have to know, don't write.” That has been really liberating to me, actually. It sounds a little harsh, but it's been really liberating to just let go of a sense of “good enough.” There is no good enough. The great writers never know if they're good enough. Coming back to this idea of just making without permission—the practice of doing the thing is being a writer. Caring and trying to improve our craft, that's the best that we can have. There's never going to be a moment where we're like, yes, I've nailed this. I am truly a hundred per cent a writer and I have found my voice. Everything's always changing anyway. I would say, either go into those feelings or let those feelings be there. Give them a little tea. Tell them, okay, you're welcome to be here, but you don't get to drive the boat. And then return to the practice of making. Joanna: Absolutely. Great. So where can people find you and your books and everything you do online? Alicia: Everything is on my website, which is AliciaJo.com, and also on Instagram at @ohaliciajo. I'd love to say hello to anyone who's interested in similar topics. Joanna: Brilliant. Well, thanks so much for your time, Alicia. That was great. Alicia: Thank you. I love your podcast. I'm so grateful for all that you've given the writing world, Jo.The post Creative Confidence, Portfolio Careers, And Making Without Permission with Alicia Jo Rabins first appeared on The Creative Penn.

On this episode we revisit Dettling Cask Strength 50 Month as we talk about stuck thumbs, routine kilt wearing, responsible enough to be a purist, paying homage to the bottle, nostalgia in a class, eating a brownie and drinking a Coke, our finger on the pulse of popular culture, the final season of Stranger Things, Making Of Documentary, huge set designs, Conformity Gate, wish we had more, Dungeons and Dragons, putting your childhood away, time travel and who is going to bite the dust, throwing Frodo into the fire with the ring, brushing your teeth with Schlitz, The Rise of the First Shadow, the sacrifice play, 80 movie trope predictability, emphatic agreement, Thomas Keller serving you a McDouble, and choosing the safe route.  Having a clear vision early on Support Us On Patreon: https://www.patreon.com/DrepandStone We'd love to hear from you! https://linktr.ee/DrepandStone Don't forget to subscribe! Music by @joakimkarudmusic Episode #332

Host Jason Blitman sits down with author Nina McConigley (How to Commit a Postcolonial Murder) to talk about what she's been reading lately—beyond Eric Carle's The Very Lonely Firefly.Plus: head to the Gays Reading Substack to hear Nina talk about adapting Cowboys and East Indians for the stage, now playing at the Denver Center through March 1, 2026.NINA McCONIGLEY is the author of the story collection Cowboys and East Indians, which was the winner of the PEN/Open Book Award and the High Plains Book Award. She has received grants and fellowships from the NEA, the Radcliffe Institute, Bread Loaf, Vermont Studio Center, and the Sewanee Writers' Conference. She was a recipient of the Wyoming Arts Council's Frank Nelson Doubleday Memorial Writing Award and a finalist for a National Magazine Award for her columns in High Country News. Her work has also appeared in The New York Times, Orion, O: The Oprah Magazine, The Virginia Quarterly Review, Salon, among other outlets. Born in Singapore and raised in Wyoming, she now lives in Colorado.Sign up for the Gays Reading Book Club HERESUBSTACK! MERCH! WATCH! CONTACT! hello@gaysreading.com Hosted on Acast. See acast.com/privacy for more information.

The Author Events Series presents Jaquira Diaz | This Is the Only Kingdom In Conversation with Airea D. Matthews When Maricarmen meets Rey el Cantante, beloved small-time Robin Hood and local musician on the rise, she begins to envision a life beyond the tight-knit community of el Caserío, Puerto Rico - beyond cleaning houses, beyond waiting tables, beyond the constant tug of war between the street hustlers and los camarones. But breaking free proves more difficult than she imagined, and she soon finds herself struggling to make a home for herself, for Rey, his young brother Tito, and eventually, their daughter Nena. Until one fateful day changes everything. Fifteen years later, Maricarmen and Nena find themselves in the middle of a murder investigation as the community that once rallied to support Rey turns against them. Now Nena, a teenager haunted by loss and betrayal and exploring her sexual identity, must learn to fight for herself and her family in a world not always welcoming. For lovers of the Neapolitan novels, This is the Only Kingdom is an immersive and moving portrait of a family - and a community - torn apart by generational grief, and a powerful love letter to mothers, daughters, and the barrios that make them. Born in Puerto Rico, Jaquira Díaz was raised between Humacao, Fajardo, and Miami Beach. She is the author of Ordinary Girls: A Memoir, winner of a Whiting Award, a Florida Book Awards Gold Medal, a Lambda Literary Awards finalist, an American Booksellers Association Indies Introduce Selection, a Barnes & Noble Discover Great New Writers Selection, an Indie Next Pick, a Library Reads pick, and finalist for the B&N Discover Prize. The recipient of the Jeanne Córdova Prize for Lesbian/Queer Nonfiction, the Alonzo Davis Fellowship from VCCA, two Pushcart Prizes, an Elizabeth George Foundation grant, and fellowships from MacDowell, the Kenyon Review, Bread Loaf, Sewanee, the Wisconsin Institute for Creative Writing, and the Black Mountain Institute at UNLV, Díaz has written for The Atlantic, The Guardian, Time Magazine, T: The New York Times Style Magazine, Condé Nast Traveler, and The Fader, and her stories, poems, and essays have been anthologized in The Best American Essays, The Breakbeat Poets Vol. 4: LatiNext, Best American Experimental Writing, and The Pushcart Prize anthology. In 2022, she held the Mina Hohenberg Darden Chair in Creative Writing at Old Dominion University's MFA program and a Pabst Endowed Chair for Master Writers at the Atlantic Center for the Arts. She lives in New York and teaches at Columbia University. Airea D. Matthews received a BA in Economics from the University of Pennsylvania, as well as an MFA from the Helen Zell Writers' Program and an MPA from the Gerald Ford School of Public Policy at the University of Michigan. She is the author of Bread and Circus (Scribner Books, 2023), winner of the Los Angeles Times Book Prize in Poetry, the PEN Oakland/Josephine Miles Award, and was a finalist for the Hurston-Wright Legacy Award. Her poetry collection, Simulacra (Yale University Press, 2017), was selected by Carl Phillips as the winner of the 2016 Yale Series of Younger Poets. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 10/30/2025)

How do poets write about place, and how does place shape a poet? Play along as the queens place these poems!Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES: Poems/Poets mentioned in this week's show include:Traci Brimhall, "Shelter in Place." Visit Brimhall's website here. And you can watch her craft talk on revision here (1 hour). José Olivarez, "Eat the Rich." Watch Olivarez read his poem "Guapo" here. And visit him online: https://joseolivarez.com/Jayne Cortez, "I Am New York City"Peter Oresick, "When in 2009 the G20 Summit Convened in Pittsburgh"James Wright, "Autumn Begins in Martin's Ferry, Ohio"Adrian Matejka, "16 Bars Poetica." Listen to a fascinating reading and talk Matejka gave at Bread Loaf in 2024 on his newest book, Last on His Feet, a graphic novel about the boxer Jack Jackson. Matejka's website is https://www.adrianmatejka.com/ Megan Pinto, "Tonight it is Snowing in Rome." Megan Pinto is the author of Saints of Little Faith (Four Way Books, 2024). Visit her online at https://www.meganpinto.com/. And watch her give a reading for Massachusetts Review.Ezra Pound, "In a Station of the Metro"Denis Johnson's "Now" Watch Johnson read in 2016 at Cornell here (~40 min).Naomi Shihab Nye, "Jerusalem"

Joe Di Prisco reads "National Poetry Month."Novelist, memoirist, and poet, Joseph Di Prisco published his fourth book of poetry, My Last Resume: New & Collected Poems in 2023. His work has appeared in numerous journals and periodicals, and his poetry has been awarded prizes from Poetry Northwest, Bear Star Press, and Bread Loaf. Joe champions writers, artists, educators, and students through his decades of teaching and his involvement with organizations dedicated to the arts, theater, and children's mental health.

Mystics and prophets have reported receiving visions from the Divine for centuries—”Thus saith the Lord…”—Hildegard of Bingen, Teresa of Avila, Ignatius of Loyola, Catherine of Siena, or Julian of Norwich. The list goes on.But what would you think if you met a seer of visions in the present day? Maybe you have.What about a prophet whose visions came like a movie screen unfurled before him, the images grotesque and vivid, all in the unsuspecting backwoods setting of Lookout Mountain, deep in the south of Tennessee.Would you believe it? Would you believe him? The beauty of fiction allows the reader to join the author in asking: What if?That's exactly what Jamie Quatro has allowed us to do in her newest work of literary fiction, Two-Step Devil.What if an earnest and wildly misunderstood Christian is left alone on Lookout Mountain? What if the receiver of visions makes art that reaches a girl who's stuck in the darkest grip of a fraught world? What if the Devil really did sit in the corner of the kitchen, wearing a cowboy hat, and what if he got to tell his own side of the Biblical story?On today's episode novelist Jamie Quatro joins Macie Bridge to share about her relationship to the theological exploration within her latest novel, Two-Step Devil; her experience of being a Christian and a writer, but not a “Christian Writer”; and how the trinity of main characters in the novel speak to and open up her own deepest concerns about the state of our country and the world we inhabit.Jamie Quatro is the New York Times Notable author of I Want to Show You More, and Fire Sermon. *Two-Step Devil* is her latest work and is the winner of the 2024 Willie Morris Award for Southern Writing, and it's also been named a New York Times Editor's Choice, among other accolades. Jamie teaches in the Sewanee School of Letters MFA program.SPOILER ALERT! This episode contains substantial spoilers to the novel's plot, so if you'd like to read it for yourself, first grab a copy from your local bookstore, then two-step on back over here to listen to this conversation!About Jamie QuatroJamie Quatro is the New York Times Notable author of I Want to Show You More, a finalist for the Los Angeles Times Art Seidenbaum Award and the National Book Critics Circle's John Leonard Prize, and Fire Sermon, a Book of the Year for the Economist, San Francisco Chronicle, LitHub, Bloomberg, and the Times Literary Supplement. Her most recent novel, Two-Step Devil, is the winner of the 2024 Willie Morris Award for Southern Writing. It has also been named a New York Times Editor's Choice, a 2025 ALA Notable Book, and a Best Book of 2024 by the Paris Review and the Atlanta Journal Constitution. A new story collection is forthcoming from Grove Press.Quatro's fiction has appeared or is forthcoming in The New Yorker, The Paris Review, Harper's, the New York Review of Books, Ploughshares, and elsewhere. She is the recipient of fellowships from MacDowell, Yaddo, Bread Loaf, and La Maison Dora Maar in Ménerbes, France, where she will be in residence in 2025. Quatro holds an MA in English from the College of William and Mary and an MFA in fiction from the Bennington College Writing Seminars. She teaches in the Sewanee School of Letters MFA program, and lives with her family in Chattanooga, Tennessee.Show NotesGet your copy of Two-Step Devil by Jamie QuatroClick here to view the art that inspired Jamie Quatro's Two-Step DevilProduction NotesThis podcast featured Jamie Quatro with Macie BridgeEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Macie Bridge, Alexa Rollow, Zoë Halaban, Kacie Barrett & Emily BrookfieldA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

Joe Di Prisco reads "The Cancellation of Spring" and "I Was Just Leaving."Novelist, memoirist, and poet, Joseph Di Prisco published his fourth book of poetry, My Last Resume: New & Collected Poems in 2023. His work has appeared in numerous journals and periodicals, and his poetry has been awarded prizes from Poetry Northwest, Bear Star Press, and Bread Loaf. Joe champions writers, artists, educators, and students through his decades of teaching and his involvement with organizations dedicated to the arts, theater, and children's mental health.

Cathy Linh Che is a Vietnamese American writer and multidisciplinary artist. She is the author of Split, winner of the Norma Farber First Book Award from the Poetry Society of America and the Best Poetry Book Award from the Association of Asian American Studies, An Asian American A to Z: A Children's Guide to Our History, and Becoming Ghost. Her writing has been published in The New Republic, The Nation, and McSweeney's and she has received awards from MacDowell, Bread Loaf, Tin House, and the Sewanee Writers' Conference. Her newest book is "Becoming Ghost." She currently lives in New York. www.cathylinhche.com

It's winter break! Strap on your snowshoes, brew a hot chocolate, and escape to the heat of the Vegas desert with one of our favorite episodes from last season. Wishing you all rest, writing inspiration, and early-decision acceptances. This week, an MFA with an international focus! Krista Diamond sits down with Jared to talk about UNLV's required (and funded) study abroad component and its emphasis on translation. Plus, Krista shares lessons learned as a freelance writer, info on the Vegas literary community, and how her experience working and living in national parks informs her fiction and nonfiction alike. Krista Diamond is a Las Vegas based writer whose work has appeared in or is forthcoming in The New York Times, Longreads, Hazlitt, Catapult, Electric Literature, Joyland, and elsewhere. Her writing has been supported by Tin House and Bread Loaf. Her essay “That Girl is Going to Get Herself Killed,” which first appeared in Longreads, was adapted for audio by Oscar-nominated actress Naomie Harris. She is currently a third year in the fiction MFA program at the University of Nevada Las Vegas, where she is working on a novel about paparazzi. Learn more at www.kristamariediamond.com and on Twitter at @kristadiamond. MFA Writers is hosted by Jared McCormack and produced by Jared McCormack and Hanamori Skoblow. New episodes are released every two weeks. You can find more MFA Writers at MFAwriters.com. BE PART OF THE SHOW Donate to the show at Buy Me a Coffee. Leave a rating and review on Apple Podcasts. Submit an episode request. If there's a program you'd like to learn more about, contact us and we'll do our very best to find a guest who can speak to their experience. Apply to be a guest on the show by filling out our application. STAY CONNECTED Twitter: @MFAwriterspod Instagram: @MFAwriterspodcast Facebook: MFA Writers Email: mfawriterspodcast@gmail.com

Go tell it on the mountain, darlings! Join the queens for a special Breaking Form report on the Bread Loaf Writers' Conference.If you'd like to support Breaking Form:Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTESIf you don't know about Absolutely Fabulous, which first ran from 1992-95, you're missing out. Catch Edina and Patsy's best moments here. Mona van Duyn taught at Bread Loaf at least once--according to this poster. Check out audio recordings of Bread Loaf readings and lectures here. I can also recommend the reading by Adrian Matejka & Paul Lisicky, both of whom read from work about celebrity icons (it was like a class on how to do that well).The t-slur has been recognized as an offensive slur for at least 10 years, if not more, as this Advocate article about the slur indicates.Daniel Mendelsohn's review ("A Striptease Among Pals") of Hana Yanagihara's A Little Life can be read here (sorry about the paywall!) and the whole dustup gets further press in this Guardian article.For more information about and to apply to the Bread Loaf Writers' Conferences (there are other conferences in environmental writing and in translation), visit their website here.

Today, we hear from Jamie Quatro whose latest novel, TWO-STEP DEVIL, releases in September. We're talking to Jamie about experimenting with form.Sorry! There's no audio/video version of this episode available. Check out the podcast version above or on your favorite podcast platform.To find Quatro's debut and many other books by our authors, visit our Bookshop page. Looking for a writing community? Join our Facebook page. Jamie Quatro is the New York Times Notable author of I Want to Show You More, a finalist for the Los Angeles Times Art Seidenbaum Award and the National Book Critics Circle's John Leonard Prize, and Fire Sermon, a Book of the Year for the Economist, San Francisco Chronicle, LitHub, Bloomberg, and the Times Literary Supplement. HER new novel, Two-Step Devil, is forthcoming from Grove Press in September 2024, to be followed by a story collection, Next Time I'll Be Louder. A finalist for the Katherine Anne Porter Prize in Short Fiction, she is the recipient of fellowships from MacDowell, Yaddo, Bread Loaf, and Maison Dora Maar in Ménerbes, France, where she will be in residence in the spring of 2025. Quatro holds an MA in English from the College of William and Mary and an MFA in fiction from the Bennington College Writing Seminars. She teaches in the Sewanee School of Letters MFA program and lives with her family in Chattanooga, Tennessee.Photo by National Library of Medicine on Unsplash This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

Notes and Links to Antonio Lopez's Work      For Episode 241, Pete welcomes Antonio Lopez, and the two discuss, among other topics, his bilingual and multicultural childhood in East Palo Alto, E-40 Fonzarelli, his experiences with bilingualism, formative and transformative reading, the greatness and timelessness of James Baldwin, seeds for Gentefication in the rhythms and cultures and camaraderie of home, his life as a politician and working together with the community towards a stellar achievement, and salient themes in his collection like faith, gentrification and attendant outcomes, grief, trauma, joy, the power of art, and youthful rage and passion.      Antonio López is a poetician working at the intersection of poetry, politics and social change. He has received literary scholarships to attend the Community of Writers, Tin House, the Vermont Studio Center, and Bread Loaf. He is a proud member of the Macondo Writers Workshop and a CantoMundo Fellow. He holds degrees from Duke University, Rutgers-Newark, and the University of Oxford. He is pursuing a PhD in Modern Thought and Literature at Stanford University. His debut poetry collection, Gentefication, was selected by Gregory Pardlo as the winner of the 2019 Levis Prize in Poetry. He recently won a Pushcart Prize for his poem “Our Lady of the Westside.” As district representative for California State Senator Josh Becker, he served as the liaison for the Latinx, veteran, and Muslim communities of State District 13. Antonio has fought gentrification in his hometown as the newest and youngest council member for the City of East Palo Alto, and he is now the city's mayor.  Buy Gentefication   Antonio's East Palo Alto Mayoral Page   KQED Interview  At about 3:00, The two discuss the diversity of the Bay Area At about 4:20, Antonio speaks about “education as a pillar of [his] life” and his relationship with languages and the written word and nurturing schools in East Palo Alto At about 7:15, The two sing the praises of PBS as an educational force, and Antonio recounts an amazing 3rd grade story involving the great Levar Burton At about 11:50, Antonio details some of his favorite texts from childhood, including The Hatchet! At about 13:20, Antonio responds to Pete's questions about ideas of representation in what he read and how he was educated, and Antonio expounded upon the interesting ways in which he grew up in an under resourced school and in the Silicon Valley At about 17:30, The two discuss the huge gap in wealth between Peninsula cities At about 20:00, Pete quotes from the book's Acknowledgements in asking Antonio about his “origin story”; Antonio talks about the personal gaze and gaze from outside East Palo Alto At about 22:25, Antonio reminiscences on the visual and aural feasts, including the music, of his community and the ways in which English was “malleable” and formational for him At about 26:20, The two discuss the ways in which East Palo Alto achieved a huge change, culminating in zero homicides in 2023 At about 30:30, Antonio reflects on the idea that “all art is political” At about 32:25, Pete highlights impressive and creative verbs and language Antonio uses At about 34:50, Pete asks about the pronunciation of the poetry collection and Antonio details the significance of the title At about 37:10, Pete quotes from the book's Prologue from Pardlo and asks Antonio about an early reference in the collection to James Baldwin; Antonio expounds upon the “mill” At about 41:25, The two discuss a memorable line about school reading that didn't feel familiar for Antonio and other resonant lines about education  At about 44:15, Antonio responds to Pete's question about “the borderlands” referred to in the collection  At about 47:45, Antonio gives background on a powerful poem, “Las Chacharas” and its sequel, as well as ideas of relativism as seen in the writing  At about 50:40, Antonio talks about a “narrative wrapped around [him]” and his pride and ambivalence At about 54:15, The two explore ideas of gentrification and losses and beautiful gains that come with immigration, as featured in the collection, including a true story involving Antonio's paternal grandparents   At about 57:20, Pete compliments the poem from the collection that is a sort of tribute to his mom, and Pete wonders about the usage of “Usted” and “Tú”  At about 1:00:25, The two discuss coming-of-age themes in the collection, and Antonio expands upon ideas presented in a four-part poem At about 1:02:15, E-40 (!) and youthful and chaotic energy are the topics of discussion-Antonio reflects on the word “hyphy” At about 1:04:25, The two discuss religion and Catholicism/Christianity's links to colonialism and Antonio's beginnings with Muslim communities At about 1:08:40, Antonio talks about the importance of hadiths and a memorable poem from the collection-a letter written to a hate crime, the murder of Nabra Hassanen At about 1:12:45, DBQ's are highlighted and unique grading rubrics, as rendered in Antonio's work      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    I am very excited about having one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review-I'm looking forward to the partnership!     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!       This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 242 with Santiago José Sánchez, a professor of English and a queer Colombian American writer whose writing has appeared in McSweeney's, ZYZZYVA, Subtropics, and Joyland and been distinguished in Best American Short Stories. They are the recipient of a Truman Capote Fellowship from the University of Iowa and an Emerging LGBTQ Voices Fellowship from Lambda Literary.    The episode will go live on July 10 or so.     Lastly, please go to ceasefiretoday.com, which features 10+ actions to help bring about Ceasefire in Gaza.

https://www.diprisco.com/ Joseph Di Prisco is the acclaimed author of two bestselling memoirs (Subway to California and The Pope of Brooklyn), six novels (Confessions of Brother Eli, Sun City, All for Now, The Alzhammer, Sibella & Sibella, and The Good Family Fitzgerald), and three books of poetry (Wit'sEnd,Poems in Which, and Sightlines from the Cheap Seats). He is also the co-author of two bestselling books on childhood and adolescence (Field Guide to the American Teenager and Right from Wrong). He is Series Editor of Simpsonistas: Tales from New Literary Project, the annual anthology. His book reviews, essays, and poems have appeared in numerous journals and periodicals, and his poetry has been awarded prizes from Poetry Northwest, Bear Star Press, and Bread Loaf. His new book, My Last Resume: New and Collected Poems showcases an exquisite body of poetry spanning more than five decades. Joseph champions writers, artists, educators, and students. He taught for decades, middle school, high school, college, and beyond, and he has served on boards as chair or trustee of not-for-profits dedicated to the arts, theater, children's mental health, and schools. In 2015 he founded the not-for-profit New Literary Project (New Lit), in partnership with the University of California, Berkeley, English Department. New Lit drives social change and unleashes artistic power across the generations by offering writing workshops free of charge to teenage writers, investing in creative writers who teach high school, and supporting mid-career authors via the annual Joyce Carol Oates Prize, which he directs. Born in Brooklyn and a longtime Berkeley resident and Cal graduate, he now lives with his wife, photographer Patti James, and their two whippets in Lafayette, California. --- Send in a voice message: https://podcasters.spotify.com/pod/show/lisa-tomey/message

Madison author Beth Nguyen's latest book Owner of a Lonely Heart (Scribner, July 2023) is a memoir about parenthood, absence, and the condition of being a refugee: the story of Beth's relationship with her mother.At the end of the Vietnam War, when Beth Nguyen was eight months old, she and her family fled Saigon for America. Only Beth's mother stayed—or was left—behind, and they did not meet again until Beth was nineteen. Over the course of her adult life, she and her mother have spent less than twenty-four hours together. It was named a Best Memoir of 2023 by Oprah Daily, and was selected by Time, NPR, and BookPage as a Best Book of 2023.Beth joins host Sara Batkie ahead of the paperback release for a conversation about the expectations of motherhood, changing her name, and the fallibility of memory.Beth Nguyen is the author of four books, most recently the memoir Owner of a Lonely Heart, published by Scribner in 2023. Owner of a Lonely Heart was a New York Times Editors' Choice pick and was named a best book of 2023 by NPR, Time, Oprah Daily, and BookPage. Nguyen's three previous books, the memoir Stealing Buddha's Dinner and the novels Short Girls and Pioneer Girl, were published by Viking Penguin. Her awards and honors include a Guggenheim Fellowship, an American Book Award, a PEN/Jerard Award from the PEN American Center, a Bread Loaf fellowship, and best book of the year honors from the Chicago Tribune and Library Journal. Her books have been included in community and university read programs around the country. Nguyen's work has also appeared in numerous anthologies and publications including The New Yorker, The Paris Review, The New York Times, Literary Hub, Time Magazine, and The Best American Essays.Nguyen was born in Saigon. When she was a baby, she and her family came to the United States as refugees and were resettled in Michigan, where Nguyen grew up. She received an MFA in creative writing from the University of Michigan and is currently a professor in the creative writing program at the University of Wisconsin–Madison.

In today's flashback, an outtake from Episode 732, my conversation with author Alexandra Kleeman. The episode first aired on October 13, 2021. Kleeman is the author of the novel Something New Under the Sun (Hogarth Press). Her other books include the story collection Intimations and the debutnovel You Too Can Have a Body Like Mine, which was a New York Times Editor's Choice. Her fiction has been published in The New Yorker, The Paris Review, Zoetrope, Conjunctions, and Guernica, among other publications, and her other writing has appeared in Harper's, The New York Times Magazine, Vogue, Tin House, n+1, and The Guardian. Her work has received fellowships and support from Bread Loaf, the Djerassi Resident Artists Program, the Virginia Center for the Creative Arts, and the Headlands Center for the Arts. She is the winner of the Berlin Prize and the Bard Fiction Prize, and was a Rome Prize Literature Fellow at the American Academy in Rome. She lives in Staten Island and teaches at the New School. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode brings up some hilarious and interesting topics. Of course we cover some diabetes talk as we catch up with Joe's progress. We also discover that Joe treats a sinkhole in his field like a garbage disposal. And we get into some heated discussion about lunch meet and cereal. It's all in a days work! Check out the show on YouTube!Keep up with Curtis' comedy dates and tickets at curtiscrow.com!

Bill welcomes poet, memoirist, and novelist Joseph Di Prisco to the show. Joseph is the acclaimed author of two bestselling memoirs (Subway to California and The Pope of Brooklyn), six novels (Confessions of Brother Eli, Sun City, All for Now, The Alzhammer, Sibella & Sibella, and The Good Family Fitzgerald), and three books of poetry (Wit's End, Poems in Which, and Sightlines from the Cheap Seats). He is also the co-author of two bestselling books on childhood and adolescence (Field Guide to the American Teenager and Right from Wrong). He is Series Editor of Simpsonistas: Tales from New Literary Project, the annual anthology. His book reviews, essays, and poems have appeared in numerous journals and periodicals, and his poetry has been awarded prizes from Poetry Northwest, Bear Star Press, and Bread Loaf. His new book, My Last Resume: New and Collected Poems showcases an exquisite body of poetry spanning more than five decades. 

Jane Wong joins Let's Talk memoir for a conversation about the challenge of reflection in memoir, writing that teems with the specific and particular, capturing the experience of being a chinese american woman on the page, writing about exes and domestic violence, keeping ourselves safe while creating, constellations in our lives, avoiding sentimentality, and her new memoir which she calls a love song to her mother, Meet Me Tonight in Atlantic City. Also in this episode: -how she's never funny in poems -the super secret Jane Wong's been keeping -finding your people   Books mentioned in this episode: Seeing Ghosts by Kat Chow Tastes like War by Grace M. Cho Crying in H Mart by Michelle Zauner Dictee by Theresa Hak Kyung Cha The Grave on the Wall by Brandon Shimoda  Jane Wong is the author of the debut memoir, Meet Me Tonight in Atlantic City, out now from Tin House (2023). She is also the author of two books of poetry: How to Not Be Afraid of Everything from Alice James (2021) and Overpour from Action Books (2016).    She holds an M.F.A. in Poetry from the University of Iowa and a Ph.D. in English from the University of Washington and is an Associate Professor of Creative Writing at Western Washington University. Her poems can be found in places such as Best American Nonrequired Reading 2019, Best American Poetry 2015, The New York Times, American Poetry Review, POETRY, The Kenyon Review, New England Review, and others. Her essays have appeared in places such as McSweeney's, Black Warrior Review, Ecotone, The Common, The Georgia Review, Shenandoah, and Want: Women Writing About Desire (Catapult).   A Kundiman fellow, she is the recipient of a Pushcart Prize and fellowships and residencies from the U.S. Fulbright Program, Artist Trust, Harvard's Woodberry Poetry Room, 4Culture, the Fine Arts Work Center, Bread Loaf, Hedgebrook, Willapa Bay, the Jentel Foundation, UCross, Mineral School, the Barbara Deming Memorial Fund, Loghaven, and others. She grew up in a Chinese American restaurant on the Jersey shore and lives in Seattle.   Connect with Jane: Website: https://janewongwriter.com/ Get Jane's Book: https://tinhouse.com/book/meet-me-tonight-in-atlantic-city/ Instagram: https://www.instagram.com/paradeofcats   — Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Izidora Angel, in this conversation, spoke about her experience of Emigration to America, the initiative that she is involved in, 'Third Coast Translators Collective' and the legendary Bulgarian writer - Hristo Karastoyanov.Izidora Angel is a Bulgarian-born writer and literary translator in Chicago. She is the author of three book-length translations. Her work on Yordanka Beleva's collection, Keder, received a 2023 NEA translation fellowship; her work on She Who Remains by Rene Karabash was awarded the 2023 Gulf Coast Translation Prize. Izidora's essays, interviews, and translations have been featured in Astra Magazine, Words Without Borders, Electric Literature, Firmament, Two Lines Journal, Chicago Reader, and elsewhere, and her translation of the short story Family Portrait of the Black Earth by Yordanka Beleva is forthcoming in Deep Vellum's inaugural anthology, Best Literature in Translation 2024. Izidora's writing has been supported by English PEN, Art Omi, Bread Loaf, the Rona Jaffe Foundation, and by the Elizabeth Kostova Foundation, which awarded her a writing fellowship in 2023 for her in-progress memoir.Third Coast Translator's Collective website -https://tctranslatorscollective.org/Rona Jaffe Foundation:https://www.ronajaffefoundation.org/Elizabeth Kostova Foundation:https://ekf-writing-center.org/Art Omi:https://artomi.org/Bread Loaf:https://www.middlebury.edu/writers-conferences/writers-conference/apply/financial-aidEnglish Pen:https://www.englishpen.org/* For your Valuable feedback on this Episode - Please click the link below.https://harshaneeyam.captivate.fm/feedbackHarshaneeyam on Spotify App –https://harshaneeyam.captivate.fm/onspotHarshaneeyam on Apple App – https://harshaneeyam.captivate.fm/onapple*Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

This week, an MFA with an international focus! Krista Diamond sits down with Jared to talk about UNLV's required (and funded) study abroad component and its emphasis on translation. Plus, Krista shares lessons learned as a freelance writer, info on the Vegas literary community, and how her experience working and living in national parks informs her fiction and nonfiction alike. Krista Diamond is a Las Vegas based writer whose work has appeared in or is forthcoming in The New York Times, Longreads, Hazlitt, Catapult, Electric Literature, Joyland, and elsewhere. Her writing has been supported by Tin House and Bread Loaf. Her essay “That Girl is Going to Get Herself Killed,” which first appeared in Longreads, was adapted for audio by Oscar-nominated actress Naomie Harris. She is currently a third year in the fiction MFA program at the University of Nevada Las Vegas, where she is working on a novel about paparazzi. Learn more at www.kristamariediamond.com and on Twitter at @kristadiamond. This episode was requested by CC Molaison. Thank you for listening, CC! MFA Writers is hosted by Jared McCormack and produced by Jared McCormack and Hanamori Skoblow. New episodes are released every two weeks. You can find more MFA Writers at MFAwriters.com. BE PART OF THE SHOW — Donate to the show at Buy Me a Coffee. — Leave a rating and review on Apple Podcasts. — Submit an episode request. If there's a program you'd like to learn more about, contact us and we'll do our very best to find a guest who can speak to their experience. — Apply to be a guest on the show by filling out our application. STAY CONNECTED Twitter: @MFAwriterspod Instagram: @MFAwriterspodcast Facebook: MFA Writers Email: mfawriterspodcast@gmail.com

Welcome, fellow crime enthusiasts, to another spine-tingling episode of Gloom & Bloom! This week, we're diving headfirst into the Halloween spirit by unearthing true stories that are scarier than any horror flick you've ever seen.First up, we unravel the twisted tale of Gary Hiednik, the real-life inspiration behind Buffalo Bill from "Silence of the Lambs." Prepare to be both horrified and amused as we delve into the mind of this peculiar character who took fashion advice from the darkest corners of his psyche. Trust us, you'll never look at a sewing machine the same way again!But wait, there's more! We then take you on a wild ride through the murky world of online deception as we recount the sordid story of Michael McDonough. Poor Michael fell head over heels for a woman Stephanie McLauren who turned out to not actually exsist. She was made up by conwoman Linsday Cotton Little did he know, his infatuation would lead to a series of events that put his unsuspecting mom and sister in harm's way. Talk about a catfish with a bite!So, grab your popcorn and prepare to laugh, cringe, and question your own sanity as we bring you true crime stories that will make your skin crawl and your funny bone tingle. Join us this Halloween for Gloom & Bloom where the only thing scarier than the crimes themselves is our twisted sense of humor!Spank you for listening. Do less God bless. Gloom & Bloom out!

A dog eats something it shouldn't and shits it out at the worst possible moment Darrin Spencer's oldie but a goodie Blind girl makes headlines by learning to fly a plane Late Mail Some of our Snipers take their turn at traffic management Ridiculous ghost yarn from voice-over guy Richie See omnystudio.com/listener for privacy information.

In today's episode I speak with novelist, author, and professor Mecca Jamilah Sullivan, Ph.D. Our conversation focuses on her coming of age young adult debut novel Big Girl. Mecca is the author of the novel Big Girl, a New York Times Editors' Choice and winner of the 2023 Next Generation Indie Book Award for First Novel, Blue Talk and Love, winner of the Judith Markowitz Award from Lambda Literary, and The Poetics of Difference: Queer Feminist Forms in the African Diaspora, winner of the William Sanders Scarborough Prize from the MLA. She has earned honors from Bread Loaf, the Institute for Citizens and Scholars, the Mellon Foundation, the Center for Fiction, the NEA and others. Originally from Harlem, NY, she is an Associate Professor of English at Georgetown University and lives in Washington DC.

As a journalist, Julie Carrick Dalton has published more than a thousand articles in The Boston Globe, BusinessWeek, The Hollywood Reporter, Orion Magazine, Electric Literature, and other publications. A Tin House and Bread Loaf alum, and graduate of GrubStreet's Novel Incubator, Dalton holds a master's degree in literature and creative writing from Harvard Extension School. She is a frequent speaker on the topic of writing fiction in the age of climate crisis. A mom to four kids and two dogs, Dalton is an avid skier, hiker, and kayaker. A former beekeeper, she also farms a gorgeous tract of land in rural New Hampshire. The Last Beekeeper is her most recent novel. How Do You Write Podcast: Explore the processes of How Do You Write Podcast: Explore the processes of working writers with bestselling author Rachael Herron. Want tips on how to write the book you long to finish? Here you'll gain insight from other writers on how to get in the chair, tricks to stay in it, and inspiration to get your own words flowing. Join Rachael's Slack channel, Onward Writers: https://join.slack.com/t/onwardwriters/shared_invite/zt-7a3gorfm-C15cTKh_47CEdWIBW~RKwgRachael can be YOUR mini-coach, and she'll answer all your questions on the show! http://patreon.com/rachael Join my scribe of writers for LOTS more tips and get access to my 7-minute video that will tell you if you're writing the right book! Only for my writing community! CLICK HERE:➡️ How to Know If You're Writing the Right Book - https://rachaelherron.com/therightbook Hosted on Acast. See acast.com/privacy for more information.

In this episode, we talk with Beyond the Page (BtP), a Middlebury program of professional teaching artists who use theater techniques in college classrooms to foster creativity and storytelling. Conflict Transformation Collaborative and BtP have been exploring ways to shift conflict dynamics through community building, playful exploration, and seeing our relationships and structures in new ways. CT Director Sarah Stroup speaks with Craig Maravich, BtP program director and visiting assistant professor at Middlebury; Jude Sandy, BtP lead teaching artist; and  Madison Middleton, BtP teaching artist. Learn more about the Beyond the Page program, visit their website: http://beyondthepage.middcreate.net/ Beyond the Page emerged from the Bread Loaf School of English, where conflict transformation programs focus on the role of storytelling in understanding and approaching conflict. To learn more about CT at Bread Loaf, visit: https://www.middlebury.edu/conflict-transformation/reaching-students-high-school-through-graduate-school/high-school-students 

Anders Carlson-Wee is the author of DISEASE OF KINGS, forthcoming from W.W. Norton in October 2023. He is also the author of THE LOW PASSIONS (W.W. Norton, 2019), a New York Public Library Book Group Selection, and DYNAMITE (Bull City Press, 2015), winner of the Frost Place Chapbook Prize. His work has appeared in The Paris Review, Harvard Review, BuzzFeed, American Poetry Review, Ploughshares, Virginia Quarterly Review, The Sun, The Southern Review, and many other publications, including several issues of Rattle. The recipient of fellowships from the National Endowment for the Arts, Poets & Writers, the Camargo Foundation, Bread Loaf, Sewanee, and the Napa Valley Writers' Conference, he is the winner of the Poetry International Prize. Visit Anders online at: https://www.anderscarlsonwee.com/ Review the Rattlecast on iTunes! https://podcasts.apple.com/us/podcast/rattle-poetry/id1477377214 As always, we'll also include live open lines for responses to our weekly prompt or any other poems you'd like to share. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a haibun that mentions time. Next Week's Prompt: Pick an inanimate object and trace the evolution of your relationship with it throughout your life. Title it with the name of that object. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

On the show:Happy National Eat Outside Day Yankees updateBread Loaf festival spreads COVID13% of Vermonters reported flood damage13% rise in short-term rentalsJustice for Koffee Kup workersMan kept in prison for dismissed shoplifting charge now eligible for release Vermont's EB-5 settlement calls for attorneys to receive $5.5 million Lawmakers Drop Impeachment Inquiry After Prosecutor ResignsPCBs strike again at Bellows Falls school Seniors get discounted fair rides Gator on a stick debuts at Champlain Valley Fair(1:04:37) Break music: (Bennington) Immune Friction - “The Use”Hot air balloon lands on Vermont highway median after being stalled in flight Yay Milton - boy scouts build beds for needy youth Boo Milton - Selectboard defunds Milton Artist Guild Towbin steps down… again Progress report on electric school buses A West Rutland sapphic mystery novel Matt, as a former bar man, does this plan make sense? Vermont's most photographed fall foliage spot will have restricted tourist access (1:41:40) Break music:  Chin Ho! - “Phish Sticker”Scumbag Map SoBu man leads police on wild chase Winooski man loses his mind in Burlington bar Burlington man threatens people with a metal pipe Former Vt. school bus driver pleads guilty to child sexual abuse (wcax.com) Attempted bank robbery in Morrisville  Burlington Police negotiating with armed robbery suspect (wcax.com) Cabot man steals ATV Two years for a fraudulent alpaca farm Moose on the loose Montpelier pool “goes to the dogs” Bob Barker and Betty White's beef over an elephantThanks for listening!Follow us on Facebook: facebook.com/VermontCatchup Follow Matt on twitter: @MatthewBorden4 Contact the show: 24theroadshow@gmail.comIntro/Outro Music by B-Complex

Today, Ben Hinshaw discusses his debut novel, Exactly What You Mean, as well as shaping this novel-in-stories, how parenthood changed his writing, locating and maintaining his authentic voice, his process, the weird feelings that accompany publication, and more!  Ben Hinshaw's writing has received an O. Henry Award and appeared in Granta, Harvard Review, Story, The Carolina Quarterly, The White Review and elsewhere. He earned his MA in creative writing at UC Davis and has received grants and scholarships from the Elizabeth George Foundation, Bread Loaf, and the Community of Writers. Born on the island of Guernsey, Ben has lived in London, Nottingham and Northern California. He currently lives on Guernsey with his wife and daughters.   Ben's debut novel is Exactly What You Mean, published by Viking and selected for BBC Two's Between the Coversbook club. Exactly What You Mean was called "brilliant" and "remarkable" by The Sunday Times, "a notable debut from a smart and capable author" by Hilary Mantel, and "riveting and beautifully patterned" by Max Porter.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I chat with author Jenny Xie about her debut novel Holding Pattern, exploring intimacy through cuddling, negative space, and books.Jenny Xie is a National Book Foundation 5 Under 35 honoree whose debut novel, Holding Pattern, is forthcoming from Riverhead Books in June 2023.Her short fiction has appeared in AGNI, Ninth Letter, Joyland, Adroit Journal, Narrative, The Offing, and the Best of the Net Anthology, among other publications. Her writing on design, travel, and culture has been featured in The Atlantic, The Washington Post, Architectural Digest, Apartment Therapy, Them, and Dwell, where she was previously the Executive Editor.Jenny holds degrees from UC Berkeley and Johns Hopkins University and is the grateful recipient of fellowships from Bread Loaf, MacDowell, Yaddo, Kundiman, Aspen Words, the Virginia Center for the Creative Arts, Loghaven, and other organizations.Born in Shanghai and hailing from California, Jenny is currently based in Brooklyn, New York.  JennyXieHolding Pattern, Jenny XieSea Change, Gina ChungDykette, Jenny Fran DavisEsquire magazine article on cuddling by Jenny XieSupport the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

Jenny Xie is the author of the debut novel Holding Pattern, available from Riverhead Books. Xie is a writer and editor living in Brooklyn. Originally from Shanghai, she graduated from the University of California, Berkeley, and earned her MFA at Johns Hopkins University. Her work has appeared in AGNI, Ninth Letter, Joyland, Narrative, and the Best of the Net Anthology. Jenny is the recipient of a Bread Loaf scholarship and fellowships from MacDowell, Yaddo, the Virginia Center for the Creative Arts, and Loghaven. She is a contributing writer for Architectural Digest, Apartment Therapy, and Dwell, where she was the executive editor. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joanna Rakoff discusses the first pages of her memoir, My Salinger Year, how she approached the writing through the vantage point of a novelist, her use of the royal we, her poetry background and how it influenced her sentences, and her advice to begin your book with what you're most passionate about, in whatever form that may be.Rakoff's first pages can be found here.Help local bookstores and our authors by buying this book on Bookshop.Click here for the audio/video version of this interview.The above link will be available for 48 hours. Missed it? The podcast version is always available, both here and on your favorite podcast platform.Here are Joanna's First Pages teaching notes (hint: they're great!)Joanna Rakoff is the author of the international bestselling memoir My Salinger Year and the bestselling novel A Fortunate Age, winner of the Goldberg Prize for Fiction and the Elle Readers' Prize. Rakoff's books have been translated into twenty languages, and the film adaptation of My Salinger Year opened in theaters worldwide in 2021 and is now streaming. She has been the recipient of fellowships and residencies from MacDowell, Sewanee, Bread Loaf, Jerome Foundation, Authors' Guild, PEN, Ragdale Foundation, Art OMI/Ledig House, and Saltonstall; and has taught at Columbia University, Brooklyn College, and Aspen Words. Her writing has appeared in The New York Times, The Guardian, O: The Oprah Magazine, Vogue, Elle, Porter, and elsewhere, and her new memoir, The Fifth Passenger, is forthcoming from Little, Brown in 2024. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

Dr. Tamara MC is a cult, child marriage, and human trafficking survivor and activist who advocates worldwide for girls and women to live free from gender-based violence. Her Ph.D. is in Applied Linguistics, and she researches how language manipulates vulnerable populations. Tamara attended Columbia University for an MFA and has been honored with residencies/fellowships in places such as Bread Loaf, Iowa Writers' Workshop, Sewanee, Ragdale, Cave Canem, VONA, and VCCA. She's published in prestigious outlets such as The New York Times, New York Magazine, Salon, The Independent, Food 52, Parents, and Thrillist. She's currently hard at work on her debut memoir, Child Bride: My Marriage at 12. She's traveled to nearly 80 countries, mostly alone and backpacking, and is a polyglot, having studied more than six languages. She is an empty-nesting mama to two sons in their mid-20s and a grandmamma to two feisty but adorable pups, a Boston Terrier and Australian Shepherd. When she isn't writing and reading, you'll find her road cycling, running, and playing Pickleball. In this revealing and heartfelt conversation, Tamara opens up about being raised mostly in her father's high-control religious commune, and the confusing dichotomy of living partly with her secular and liberal mother. Throughout the discussion, Rachel offers insights on the negative impacts of burdening children with adult responsibility and sacrificing their education for the sake of religious devotion. Before you go: Rachel explains why it's important to take note of changing or inconsistent rules in high control groups, pointing out the often illegitimate derivation of their authority. Find more about Tamara and her work here: https://tamaramc.com/ https://www.linkedin.com/in/tamaramcphd/ All of Rachel's video lectures are available for purchase here: www.rachelbernsteintherapy.com/webinar.html To help support the show monthly and get bonus episodes, shirts, and tote bags, please visit: www.patreon.com/indoctrination Prefer to support the IndoctriNation show with a one-time donation? Use this link: www.paypal.me/indoctrination Connect with us on Social Media: Twitter: twitter.com/_indoctrination Facebook: www.facebook.com/indoctrinationpodcast Tik Tok: www.tiktok.com/@indoctrinationpodcast Instagram: www.instagram.com/indoctrinationpodcast/ YouTube: www.youtube.com/rachelbernsteinlmft You can always help the show for free by leaving a rating on Spotify or a review on Apple/ iTunes. It really helps the visibility of the show!

First pages are impossible… so we're hearing from authors about how they got them right. In this episode, Julie Carrick Dalton discusses the first pages of her second novel, The Last Beekeeper. We talk about how she used the power of a front and back story to create tension and complexity, her love of place, the power of her descriptive details in terms of nature and time period, her use of rich familial relationships to tie us emotionally to the story, and how she handled going between two timelines.Dalton's first pages can be found here.Help local bookstores and our authors by buying this book on Bookshop.Click here for the audio/video version of this interview.The above link will be available for 48 hours. Missed it? The podcast version is always available, both here and on your favorite podcast platform.Julie Carrick Dalton is the Boston-based author of The Last Beekeeper and Waiting for the Night Song, named a Most Anticipated 2021 novel by CNN, Newsweek, USA Today, Parade, and others, and an Amazon Editor's pick for Best Books of the Month. A Bread Loaf, Tin House, and GrubStreet Novel Incubator alum, Julie is a frequent speaker on the topic of Fiction in the Age of Climate Crisis at universities, conferences, libraries, and museums. Her writing has appeared in Chicago Review of Books, Orion, Newsweek, The Boston Globe, Electric Literature, Lit Hub, and other publications. When she isn't writing, you can usually find Julie digging in her garden, skiing, kayaking, or walking her dogs. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

First pages are impossible… so we're hearing from authors about how they got them right. In this episode, Vanessa Hua discusses the first pages of her latest novel, Forbidden City. We talk about how she stuck to her instincts about the power of her prologue, the reminiscent narrator, and how to handle direct address.Hua's first pages can be found here.Help local bookstores and our authors by buying this book on Bookshop.Click here for the audio/video version of this interview.The above link will be available for 48 hours. Missed it? The podcast version is always available, both here and on your favorite podcast platform.Finally, here's a link to the photo that launched Vanessa's book.Vanessa Hua, is author of DECEIT AND OTHER POSSIBILITIES, a NYT Editors pick, and the national bestsellers A RIVER OF STARS and FORBIDDEN CITY. A National Endowment for the Arts Literature Fellow, she has also received an Asian/Pacific American Award for Literature, a Rona Jaffe Foundation Writers' Award, a Steinbeck Fellowship in Creative Writing, and the San Francisco Foundation's James D. Phelan Award for fiction. She has received fellowships and support from Bread Loaf, Aspen Summer Words, Voices of Our Nation, Community of Writers at Squaw, and Napa Valley writing conferences. Her work has appeared in New York Times, FRONTLINE/World, PRI's The World, The Atlantic, ZYZZYVA, Guernica, and elsewhere. She lives in the San Francisco Bay Area with her husband and twins. She teaches at the Warren Wilson MFA Program for Writers, Sewanee Writer's Conference, and elsewhere.Thank you for reading The 7am Novelist. This post is public so feel free to share it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

“It made me think about how our sense of identity really gets mixed up in names that other people give to us.” In real life, Bich Minh Nguyen now goes by the name Beth Nguyen - Beth is an award-winning writer and professor. In honor of AAPI Heritage Month, we wanted to share a conversation from the other podcast Modern Minorities - which features minority voices for all of our majority ears. Born in Saigon, Beth is the author of books like Stealing Buddha's Dinner, Short Girls, Pioneer Girl, and Owner of a Lonely Heart - her memoir in essays about post refugee life coming out later this year. Beth 2021 New Yorker article - “⁠America Ruined My Name For Me⁠” unpacks a necessary conversation about identity, adaption and assimilation - especially for those whose name is not hard to pronounce or understand. A refugee and a mother, Beth's moving work has appeared in The New Yorker, The Paris Review, The New York Times, and Literary Hub. Beth's awards and honors include an American Book Award, a PEN/Jerard Award from the PEN American Center, a Bread Loaf fellowship, and best book of the year honors from the Chicago Tribune and Library Journal. Beth has taught at Purdue University and the University of San Francisco - she is and is currently a professor of creative writing at the University of Wisconsin. You'll enjoy this candid conversation about growing between the cultures of two worlds

Today, Jane Wong reads from her new memoir, Meet Me Tonight in Atlantic City, and discusses transforming her collection of essays into a non-linear memoir, “Wongmom.com,” working in poetry and prose, “writing up to the present,” writing the hard stuff, tonal shifts, and more!  Jane Wong is the author of How to Not Be Afraid of Everything from Alice James Books (2021) and Overpour from Action Books (2016). Her debut memoir, Meet Me Tonight in Atlantic City, is forthcoming from Tin House in May, 2023. She holds an M.F.A. in Poetry from the University of Iowa and a Ph.D. in English from the University of Washington and is an Associate Professor of Creative Writing at Western Washington University. Her poems can be found in places such as Best American Nonrequired Reading 2019, Best American Poetry 2015, The New York Times, American Poetry Review, POETRY, The Kenyon Review, New England Review, and others. Her essays have appeared in places such as McSweeney's, Black Warrior Review, Ecotone, The Common, The Georgia Review, Shenandoah, and This is the Place: Women Writing About Home. A Kundiman fellow, she is the recipient of a Pushcart Prize and fellowships and residencies from the U.S. Fulbright Program, Artist Trust, Harvard's Woodberry Poetry Room, 4Culture, the Fine Arts Work Center, Bread Loaf, Hedgebrook, Willapa Bay, the Jentel Foundation, SAFTA, Mineral School, the Barbara Deming Memorial Fund, Loghaven, and others. The recipient of the James W. Ray Distinguished Artist Award for Washington artists, her first solo art show “After Preparing the Altar, the Ghosts Feast Feverishly” was exhibited at the Frye Art Museum in 2019. Her artwork will also be a part of “Nourish,” an exhibition at the Richmond Art Gallery in 2022. A scholar of Asian American poetry and poetics as well, you can explore "The Poetics of Haunting" project here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we hear from writer and wellness nonprofit founder Lara Wilson about her idea of the Shadowscape: exploring the shadow side of yourself to deepen your characters in your fiction and your own understanding of how they move in the world (and how you do so as well).For a list of my fave craft books and most recent works by our guests, go to our Bookshop page.Lara Wilson devotes her life to exploring the intersection of storytelling, wellbeing and befriending. Her short stories have been published in The Kenyon Review, StoryQuarterly, American Fiction, Confrontation, Indiana Review, the Chicago Tribune Book Section and the anthology, Printers Row, among others. An essay about her breast cancer journey was published on WBUR's Cognoscenti. Lara was awarded a 2010 Massachusetts Cultural Council Fellowship in Fiction as well as scholarships from the Bread Loaf and Sewanee Writers' Conferences. She served on the board and taught fiction workshops at GrubStreet and for the Friends of the Concord Free Public Library, where she curates the Concord Festival of Authors. A lifelong meditator, Lara established 501c3 non-profit Be Well Be Here, whose mission is to inspire greater wellBEing through creative mindful wellness practices and the transformative power of storytelling to build compassionate communities. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

Today, Lydia Conklin talks to us about their collection RAINBOW RAINBOW, writing humor and joy, Lorrie Moore, deciding to publish their collection before their novel, working with Catapult, and more!  Lydia Conklin has received a Stegner Fellowship, a Rona Jaffe Foundation Writer's Award, three Pushcart Prizes, a Creative Writing Fulbright in Poland, a grant from the Elizabeth George Foundation, a Creative Writing Fellowship from Emory University, work-study and tuition scholarships from Bread Loaf, and fellowships from MacDowell, Yaddo, Hedgebrook, Djerassi, the James Merrill House, and elsewhere. Their fiction has appeared in McSweeney's, American Short Fiction, The Paris Review, One Story, and VQR. They have drawn cartoons for The New Yorker and Narrative Magazine, and graphic fiction for The Believer, Lenny Letter, and the Steppenwolf Theater in Chicago. They've served as the Helen Zell Visiting Professor at the University of Michigan and are currently an Assistant Professor of Fiction at Vanderbilt University. Their story collection, Rainbow Rainbow, was longlisted for the PEN/Robert W Bingham Award and The Story Prize.  Sign up for Krys Malcolm Belc's online class, Writing Queer Memoir! Learn more about your ad choices. Visit megaphone.fm/adchoices

Author Julie Carrick Dalton helps us re-see our novel drafts through a unique (and colorful) method she calls “Visual Graphing.”Julie Carrick Dalton is the Boston-based author of Waiting for the Night Song, named a Most Anticipated 2021 novel by CNN, Newsweek, USA Today, Parade, and others, and an Amazon Editor's pick for Best Books of the Month. A Bread Loaf, Tin House, and GrubStreet Novel Incubator alum, Julie is a frequent speaker on the topic of Fiction in the Age of Climate Crisis at universities, conferences, libraries, and museums. Her writing has appeared in Chicago Review of Books, Orion, Newsweek, The Boston Globe, Electric Literature, Lit Hub, and other publications. When she isn't writing, you can usually find Julie digging in her garden, skiing, kayaking, or walking her dogs. Her second novel, THE LAST BEEKEEPER, is coming out on March 7.Thank you for reading The 7am Novelist. This post is public so feel free to share it.Julie's graph (plus her dog!) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

In conversation with Elias Rodriques Referred to by Carmen Maria Machado as ''all blood and nerve and near-unbearable beauty,'' Joseph Earl Thomas' Sink is a coming-of-age memoir that chronicles the author's escape from an upbringing of deprivation and abuse to a geek culture in which he could build a family and community on his own terms. An excerpt of this work won the 2020 Chautauqua Janus Prize. His other writing has appeared or is forthcoming in n+1, The Kenyon Review, and Gulf Coast, among other literary journals, and he has received writing fellowships from the Fulbright program, Bread Loaf, and Tin House. A doctoral candidate in English at the University of Pennsylvania, Thomas is the Director of Programs at Blue Stoop in Philadelphia and an associate faculty member at the Brooklyn Institute for Social Research.  Elias Rodriques is an assistant editor of n+1 and author of the novel All the Water I've Seen is Running. His work has been published or anthologized in The Guardian, The Nation, and Best American Essays. (recorded 2/21/2023)

Latest up from Spoken Label (Poetry / Spoken Word Podcast) features the wonderful Natalie Easton author off “I'll buy you a bird instead”. Natalie Easton's poems have appeared in such publications as Jet Fuel Review, Superstition Review, and tinywords. She was nominated for a Pushcart in 2014, and was a contributor at Bread Loaf in 2015. Her debut chapbook, I'll Buy You a Bird Instead, is was releeased on Femme Salve Books on November 9th 2022. “I'll buy you a bird instead” is described as “In this intimate chapbook of poems, Natalie Easton examines the complexity of her relationship with her mother through a kaleidoscope of loss, grief, and love. The troubles of childhood are reexamined in adulthood, brought out and looked at with a new depth of understanding. This is a book that encourages the reader to look harder at the difficult moments, and find the gems hidden there.” Some praise for “I'll buy you a bird instead”: “I'll Buy You a Bird Instead is a complex cry of longing – from a ‘throat veined white like a cut strawberry' – for the ever-disappearing mother. These poems are painted in the many colors of illness, healing, resentment, surprising humor, regret: ‘Go in, I will my former self. / Just for a glass of water.' From caring for the parent in extremis (‘If you weren't conscious in an hour, / then I should make a call') to tending her body after death (‘For all I knew you felt it still'), from denial (‘I have tried to escape without / burying you') to acceptance (‘Now that I'm alone I know / you'll never stop returning to me'), Easton brings a mother-daughter relationship – both foundational and impossible – into razor-edge focus, side-by-side with its loss. Easton's eye is unflinching, her portrayal of grief unstinting. The red bird glowing behind these poems – the parrot itself and the mother's devotion, even mixed with betrayal – is a reminder that love can wreck us and still we can be ‘filled – like an urn – with its beauty.'” —Laura Cherry, author of Haunts (Cooper Dillon Books) “In forthright and gutting language, this collection looks resolutely at the ways in which we communicate with our past in mourning. This is a beautiful book that will break your heart.” —Erin Elizabeth Smith, author of DOWN “…these fierce and tender poems affirm that at the end of pain, what remains is wisdom. What remains is love.” —Angela Narciso Torres, author of What Happens Is Neither More about Natalie can be found here - www.natalieeastonpoetry.com The book is available through femme salve books directly here - femmesalvebooks.net/bird-instead-by-natalie-easton/

Episode 158 Notes and Links to Javier Zamora's Work       On Episode 158 of The Chills at Will Podcast, Pete welcomes Javier Zamora, and the two discuss, among other things, his early love of learning and influences in his native Él Salvador, the effects of his family members on his world view, the accolades that have come with his writing and his original and continuing goals for his work, his memoir and his light and masterful touch with a young kid's POV, the ways in which traumas and bonding and love were intertwined in his journey to the US, and how writing the book brought him to a greater understanding of the vagaries of human behavior and his own behaviors.      Javier Zamora was born in La Herradura, El Salvador, in 1990. At the age of nine he migrated to the United States to be reunited with his parents. Zamora holds a BA from the University of California, Berkeley, where he studied and taught in June Jordan's Poetry for the People; and an MFA from New York University. He is the recipient of scholarships to Bread Loaf, Frost Place, Napa Valley, Squaw Valley, and VONA Writer's Conferences; and fellowships from CantoMundo and Colgate University where he is the Olive B. O'Connor fellow. His poems also appear in Best New Poets 2013, Indiana Review, Narrative, Ploughshares, Poet Lore, Theatre Under My Skin (Kalina Press: El Salvador), and elsewhere. Zamora has had his work recognized with a Meridian Editor's Prize, CONSEQUENCE Poetry Prize, and the Organic Weapon Arts Chapbook Contest.e enjoys hiking, camping, and is just getting into backpacking.   Buy Solito   Javier Zamora's Website   The New York Times Book Review of Solito   September 2022 from The Los Angeles Times: “At 9, Javier Zamora walked 4,000 miles to the U.S. At 29, he was ready to tell the story” At about 7:30, Pete asks the important question: Does Salvadoran Spanish have the best groseria?    At about 8:10, Javier responds to Pete's questions about his use of Spanish/Spanglish, and Salvadoran-specific words and his rationale/process in using the words    At about 11:50, Pete asks Javier about the awards and acclaim he has received and how it registers compared to the experience of sharing this personal story with the world   At about 14:45, Javier talks about pressures-external and internal-that have weighed him down and how therapy and healing through writing have lifted much of these pressures    At about 19:20, Javier speaks to Pete's question about the writers who have inspired and thrilled and challenged him; Javier mentions the outsized encouragement provided by Roberto Lovato   At about 21:00, Javier cites the huge influences of June Jordan and Roque Dalton    At about 22:25, Pete asks Javier about his early relationship with the written word, and he mentions his grandfather's and parents' educational and political backgrounds and how they shaped his reading     At about 27:05, Javier traces his fairly-circuitous route to becoming a writer, including the impact of Guevara's Motorcycle Diaries   At about 28:55, Javier responds to Pete's question about how the Bay Area's ethic has shaped him   At about 30: 10, Javier discusses the teaching of Salvadoran history in Él Salvador and how he was guided by this    At about 31:00, Javier and Pete highlight Immortal Technique and Rage Against the Machine as educational and radical musicians and inspirations   At about 32:10, Pete asks Javier about the meanings of the book's title, and Javier focuses on the three main parts/time periods of him being ”solito”   At about 34:20, Pete wonders about Javier's individual story and how it compares to, and was inspired by, more recent migrations of Salvadorans and Central Americans, particularly minors, and how journalism has erred in covering the    At about 39:30, Pete reads the epigraphs and Javier expands upon their importance and connections to the book   At about 41:00, Javier puts forth interesting ideas about the use of the word “immigrant” and suggests a possible substitute   At about 43:00, Javier expands upon ideas of the natural affinity that people (Americans, for one) have for children, and connections to the American immigration system     At about 44:30, Pete, stunned at the masterful ways in which Javier uses the POV of 9 yr old him, asks Javier how he managed to pull it off, and Javier talks about how his traumas have affected his growth   At about 47:10, Pete outlines the book's beginnings before Javier goes to the US   At about 48:00, Javier discusses the importance of his bonding time with his grandfather right before he headed North; he highlights The Body Keeps the Score and how he saw his ACES Index.   At about 51:00, Javier explains the Cadejo and its significance for him   At about 52:40, Javier recounts the tortuous boat trip that is depicted in the book and describes the overwhelming fear   At about 54:55, Javier talks about the “Big Four” (formerly the “Big Six” the people who become bonded for life with Javier and ideas of “surviving” as manifested by different people on Javier's journey   At about 58:30, Pete cites examples of charity depicted in the memoir and Pete compliments Javier's humanizing his characters; Javier responds with his views of the coyotes and the ways in which the border “world of 1999 that [he] described is different than now”   At about 1:01:20, Pete asks Javier if his stated goal for the writing of the book has been accomplished    At about 1:03:00, Javier talks about his involvement with Undocupoets, and how the writing world deals with issues of citizenship   At about 1:05:55, Javier describes his upcoming project    At about 1:06:45, Loca the Cat makes an appearance!      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.    Please tune in for Episode 159 with Amanda Korz, whose poetry witnesses previous versions of herself and intimately digs into mental illness, disability, and witchcraft. Her poetry collection, It's Just a Little Blood.    The episode will air on December 27.  

Understanding the Denouement as well as John Barth's idea of the “complexified equilibrium” and Jessica Brody's “Five-Point Finale” with authors Rebecca Rolland and Rishi Reddi. Rebecca Rolland is the author of the Art of Talking with Children (HarperOne, 2022), a combination memoir and parenting/education guide that will be translated into over 10 languages. She's also a poet, essayist, and novelist, winner of the Dana Award for Short Fiction, with three poetry collections published and a fourth one coming out next year. She lives in Boston with her family.Rishi Reddi is the author of the novel Passage West, a Los Angeles Times “Best California Book of 2020” which tells of the early South Asian immigrants to California, and Karma and Other Stories, which received the 2008 L.L. Winship /PEN New England Award for Fiction. A National Book Critics Circle Emerging Critics Fellow for 2021-2022, her reviews, essays and translations have appeared in the New York Times, Los Angeles Review of Books, Kirkus Reviews, LitHub, Alta Journal, and Partisan Review, among others. Rishi has received fellowships and grants from the MacDowell Colony, Bread Loaf, the Massachusetts Cultural Council, and the U.S. Department of State. She lives in Cambridge, MA, and is the Director of Environmental Justice in her day job with the government of Massachusetts. Find John Barth's essay Incremental Perturbations in Julie Checkoway's (editor) Creativing Fiction. And Jessica Brody's 5-Point Final can be found in her craft book: Save the Cat Writes a Novel.Find these and more of fave craft books as well as our panelists' most recent publications on our Bookshop page: https://bookshop.org/shop/the7amnovelist This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

Looking at some traditional Western plot points today. Why might they be useful (or not)? How might we try to understand or subvert them? And why might this point in your book feel like your own dark night of the soul? Helping us answer these questions are authors Julie Carrick Dalton and Tara Lynn Masih.Tara Lynn Masih is a National Jewish Book Award Finalist and winner of a Julia Ward Howe Award, a Florida Book Award, a Benjamin Franklin Award, and multiple Foreword Book of the Year Awards. She is the author of the acclaimed novel My Real Name Is Hanna and editor of The Rose Metal Press Field Guide to Writing Flash Fiction. Tara also founded The Best Small Fictions series. How We Disappear is her second story collection. She lives in St. Augustine, Florida.Julie Carrick Dalton's debut novel WAITING FOR THE NIGHT SONG has been named to Most Anticipated 2021 book lists by CNN, Newsweek, USA Today, Parade, and Buzzfeed, and was an Amazon Editor's Pick for Best Books of the Month. Her work has appeared in Orion Magazine, The Boston Globe, BusinessWeek, The Chicago Review of Books, Lit Hub, Electric Literature, and other publications. She is an alum of Tin House, Bread Loaf, and GrubStreet's Novel Incubator and is a member of the Climate Fiction Writers League. She is a frequent speaker on the topic of fiction in the age of climate crisis at universities, libraries, and conferences. Her second novel, THE LAST BEEKEEPER, will be published in March 2023 by Tor/Forge Macmillan and is available for pre-order now. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

She was 5 when her father joined a cult. She was 12 when she was forced into a child marriage. Today, she is telling her story. Dr. Tamara MC is an Applied Linguist who researches language, culture, and identity in the Middle East and beyond. She studied poetry and nonfiction at Columbia University. She's been granted numerous residencies and fellowships, including Bread Loaf, Iowa Writers' Workshop, Sewanee, Ragdale, Cave Canem, and Vermont Studio Center. She's widely published in places such as Salon, The Independent, Parents Magazine, Food52, and Ms. Magazine. She was awarded the Pauline Scheer Fellowship and recently graduated from GrubStreet's Memoir Incubator.  She wrote her debut memoir, Child Bride, for which she is seeking representation. https://twitter.com/TamaraMCPhD https://www.instagram.com/tamara_mc_phd/ https://www.facebook.com/tamaramcphd/ Do you need help leaving or resisting an arranged/forced marriage, or do you know someone who does? Click: Get Help - Unchained At Last Call: (908) 481-HOPE Unchained helps anyone in the U.S., from any community, culture or religion, who is or has been pressured, bribed, tricked, threatened or otherwise coerced to marry – whether they have been married for several decades and have many children or they are facing an eventual or imminent arranged/forced marriage. Unchained helps women, girls and others regardless of immigration, religion or income status (though some income guidelines apply to the Legal Services Program) and regardless of gender identity or sexual orientation. Unchained also helps people overseas if they were brought from the U.S. to another country for an arranged/forced marriage, or if they were brought from overseas to the U.S. for such a marriage. ___________________________________________________________ Method & Madness is researched, written, hosted, and produced by Dawn Gandhi Sound Editing by moInspo Music by Tymur Khakimov from Pixabay REACH OUT: methodandmadnesspod@gmail.com FOLLOW: Instagram.com/MethodAndMadnessPod Twitter.com/MethodPod ___________________________________________________________ This podcast is sponsored by BetterHelp. Special offer to Method and Madness listeners; you can get 10% off your first month of professional therapy at BetterHelp.com/methodandmadness ___________________________________________________________ For a list of sources used, visit the podcast website: Method & Madness Podcast Methodandmadnesspodcast.com Thank you for listening!

Best practices and tricks for getting sensory detail into your work and ensuring we feel the particular consciousness of your characters with writers Lara Wilson and Dan Fogarty.Dan Fogarty is a novelist and journalist born and raised in New York City. He's a former senior editor of digital sports at USA TODAY, a former senior editor at Boston.com, and former advisor to the Concussion Alliance, a non-profit that helps patients navigate brain injuries. Dan's background in journalism helps inform his work, including his debut novel KILL THE PRINCE, which was heavily researched over nine years. A boxing hobbyist, Dan suffered a mild traumatic brain injury in 2016 during a sparring session. Although the injury required 5+ years of recovery, he was able to get his life (and his brain) back. His recovery influenced KILL THE PRINCE's storyline.Lara Wilson is the curator of the Concord Festival of Authors (now in its 30th year) and the founder of Be Well Be Here, a mindful wellness educational collaborative whose mission is to build connected community through experiential well-being practices, including mindful writing workshops. Her short stories have been published in The Kenyon Review, StoryQuarterly, American Fiction, Confrontation and Indiana Review, among others, as well as anthologized in Printers Row. An essay about her breast cancer journey was featured on WBUR's Cognoscenti. Lara was awarded a 2010 Massachusetts Cultural Council Fellowship in Fiction as well as scholarships from the Bread Loaf and Sewanee Writers' Conferences. For many years, she served on the board at GrubStreet, where she taught master fiction workshops. A 40-year meditator, Lara devotes her life to exploring the intersection of personal narrative and mindful well-being. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

The sounds of a city can be overwhelming — but in the imagination of this poem, they are made into something new. Carolina Ebeid is a multimedia poet. Her first book, You Ask Me to Talk About the Interior, was published by Noemi Press as part of the Akrilica Series, and selected as one of ten best debuts of 2016 by Poets & Writers. Her work has been supported by the Stadler Center for Poetry at Bucknell University, Bread Loaf, CantoMundo, as well as a residency fellowship from the Lannan Foundation. Ebeid currently edits poetry at The Rumpus and the multimedia zine Visible Binary.Find the transcript for this show at onbeing.org.We're pleased to offer Carolina Ebeid's poem, and invite you to connect with Poetry Unbound throughout this season.Pre-order the forthcoming book Poetry Unbound: 50 Poems to Open Your World and join us in our new conversational space on Substack.

The Strange Inheritance of Leah Fern (Melville House 2022) by Rita Zoey Chin is equal parts coming of age, epic travel tale, quest to find a mother who disappeared, and journey of personal discovery. The story begins as Leah Fern is planning to commit suicide. She hears someone banging on her door, which is strange since she has no friends. The visitor is a lawyer who shares a box that sends Leah on the road following clues that she hopes will lead to the mother who abandoned her when she was six, 15 years before. North to Canada and west to the ocean, Leah consumes copious amounts of candy as she surmounts obstacles, learns how to navigate with a piece of magnetite, and recounts her happy carnival life, before her mother, the magician, disappeared. Rita Zoey Chin is the author of the widely praised memoir, Let the Tornado Come. She holds an MFA from the University of Maryland and is the recipient of a Katherine Anne Porter Prize, an Academy of American Poets Award, and a Bread Loaf scholarship. She has taught at Towson University and at Grub Street in Boston. Her work has appeared in Guernica, Tin House, and Marie Claire. Outside of writing, Zoey can often be found hiking with her dogs, making silver amulets in her metalsmithing studio, and concocting herbal brews in her kitchen. This is her first novel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

We are excited to welcome Raye Hendrix to the show this week with EVERY JOURNAL IS A PLAGUE JOURNAL from Bottlecap Press. Raye Hendrix (she/they) is a writer from Birmingham, Alabama. She is the poetry editor at Press Pause Press and the author of two poetry chapbooks, Fire Sermons (Ghost City Press) and Every Journal is a Plague Journal (Bottlecap Press). Their work has also appeared in Poet Lore, 68 to 05, Poetry Northwest, 32 Poems, Shenandoah, The Adroit Journal, Cimarron Review, and others. Raye is the winner of the Keene Prize for Literature and Southern Indiana Review's Patricia Aakhus Award, and she has received scholarships from Bread Loaf and the Juniper Summer Writing Institute. Raye holds a BA and MA from Auburn University, an MFA from the University of Texas at Austin, and is currently a PhD candidate at the University of Oregon, where she has been awarded fellowships and grants for her dissertation work on disability poetics.author website: https://www.rayehendrix.comauthor twitter: https://twitter.com/_rayehendrixEvery Journal is a Plague Journal (Bottlecap Press): https://bottlecap.press/products/journalFrank O'Hara at Poets.Org: https://poets.org/poet/frank-oharaTsunami Books (Eugene, Oregon): http://www.tsunamibooks.org/ Thank You Books (Birmingham, Alabama): https://thankyoubookshop.com/Thank you for listening to The Chapbook!Noah Stetzer is on Twitter @dcNoahRoss White is on Twitter @rosswhite You can find all our episodes and contact us with your chapbook questions and suggestions here: https://bullcitypress.com/the-chapbook/Bull City Press website https://bullcitypress.comBull City Press on Twitter https://twitter.com/bullcitypress  Instagram https://www.instagram.com/bullcitypress/  and Facebook https://www.facebook.com/bullcitypress