Posts Tagged writing to music

The Undercover Soundtrack – Audrina Lane

for logo‘Music for looking into the past’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold  a moment still to explore its depths. This week’s post is by Audrina Lane @AudrinaLane

Soundtrack by Berlin, Wham!, Rick Astley, Robin Beck, George Michael, Bill Medley, Jennifer Warnes, Patrick Swayze

As I started 2013 and my 40th birthday I started to think about what I still wanted to do with my life, call it a mid-life crisis bucket list. It was a time to look back into my past from an 80s adolescence to my life today and wonder if I had made the right choices. Music has always been my life blood from watching Top of the Pops in the 70s and wanting to be a dancer in Hot Gossip, right through to the fact that I always have music on in the office, house, car and headphones. Wherever I was working on my novel the music was there.

IMG_0086So on my bucket list I wanted to write a book, my first attempt at this was in 1992 after suffering my first break-up. It was called Take my Breath Away and straight away you can see that the song by Berlin was my starting point. The mood and lyrics of the song a haunting epitaph to lost love. Afraid of rejection of my teenage romance novel I shelved it.

Happily in February 2013 I found the manuscript and set to work to achieve my dream. The title of my novel is a song Where did your heart go? By Wham, its poignant lyrics and soulful vibe pointed me in the direction my story was going to take. With the local radio station on I decided to bring my idea from 1992 into the present and include music that I loved from the 80s. By setting my novel in 2013 my main character Stephanie Eden, widow, single mother and local radio station DJ is 40 years old. She grew up and experienced love for the first time in 1988. The song that made me remember my first love was First Time by Robin Beck. I listened to this track constantly as the lyrics evoke that breathless yearning when you are hit by love. I needed the music of the era to awaken my memories.

Stephanie’s daughter Charlotte is 16 in 2013 and just experiencing her own break-up. Stephanie remembers her diary from 1988 from when she was 16 and about to embark on her first relationship. Handing the diary to Charlotte she lets her read about how first love was in 1988 compared to 2013. My favourite scene is Stephanie’s first kiss with Lifeguard James, unexpected and beneath the water in the local swimming pool where they met.

I felt his lips on mine, soft and firm against the liquid coolness of the water. We were suspended in a timeless moment’

Stephanie yearns to be a DJ so for every romantic event in her relationship a song comes to mind and for this kiss it was Whenever you need somebody by Rick Astley. Upbeat and hopeful like my character feelings.

You feel for Stephanie when she realises that James is moving away. I needed a song to express the yearning and desperation she feels and I listened to A different corner by George Michael, the lyrics and piano on the track highlighting her yearning and the decision she made that led her to James in the first place. Stephanie has never moved on from her first love, despite her short marriage and the birth of her daughter. James has kept appearing in her memories every time she hears a song from the past. How many of us have experienced the same thing when you hear a certain song?

Music was such a powerful memory tool and one that I could never silence no matter the pain it bought.’

Charlotte loves music, influenced by her mum’s career and also her own dreams of becoming a dancer. I hope you are all seeing the parallel’s in my own ambitions?? At a dance competition Charlotte meets Mitchell and with a shared love of the film Dirty Dancing they re-create the iconic dance to the song I’ve had the time of my life, it becomes the first song of their relationship.

She could almost hear the music in her head, just louder than the beating of her heart as they moved together in perfect synchronicity.’

BOOK COVER 2The book follows both characters through their sexual awakening and each of these scenes was easier to write with a song playing for the characters. For Stephanie and James I found it in the beautiful lyrics of George Michael’s Father Figure, for Charlotte and Mitchell with She’s like the wind by Patrick Swayze. As Stephanie watches her daughter falling in love she wonders if she should give love one more try?

In a way the soundtrack of my teenage years became those of the characters I was bringing to life and recreated that magical feeling of first love.

Audrina Lane lives in Herefordshire with her partner and two dogs. She works full time for the Herefordshire Library service which means she is surrounded by books every day. Where Did Your Heart Go? was released in July 2013 and her second book, Un-Break my Heart, was released in December 2014. She is currently working on the third. Find her on Facebook, Twitter @AudrinaLane and her website.

 

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‘Music for looking into the past’ – Audrina Lane

for logoMy guest this week brings a real blast of the 1980s, with a bright red emphasis on romance (I guess it’s that time of year). She drew on the soundtrack of her adolescent years to create the love-torn characters in her novel, and the heart of the story beats to George Michael, Berlin and Patrick Swayze. She is Audrina Lane and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Karen Wojcik Berner

for logo‘Music for tragedy, coming of age, romance’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold  a moment still to explore its depths. This week’s post is by award-winning journalist and contemporary women’s fiction author Karen Wojcik Berner @karenberner

Soundtrack by Icicle Works, Peter Gabriel, The Indigo Girls, The Doors, The 5th Dimension, Bach, Phil Collins

I was a singer way before I was a writer. Nothing on a grand scale, although I was asked to try out for the Lyric Opera children’s chorus, which I turned down because I hated opera and didn’t recognize the value of the musical education I would have received. What did I know? I was only ten. I settled for local variety shows, high school musicals, and choirs. Wise? Probably not, but then I wouldn’t have discovered writing.

IMG_2272Only natural then that music helped me create the Bibliophiles series, which revolves around members of a classics book club. Not your typical series, each book stars one or two of the book club members and tells their stories. Tragedy. Coming of Age. Romance. You never know what you’re going to get.

Small and helpless

The first is A Whisper to a Scream, which I’m sure you’ll recognize as the title of an Icicle Works song from the 80s. Most people think A Whisper to a Scream is a mystery novel, but if you listen to the lyrics of the song, it’s really about feeling small and ‘ever helpless’ in the face of a greater force, which is exactly what the book is about.

Overwhelmed stay-at-home mother of two Sarah Anderson feels adrift in a sea of diapers, Legos, and school projects. Her workaholic husband is never home, and she longs for just 10 minutes to herself to reclaim the person she was pre-kids. When she finally gets out of the house and joins a classics book club, she meets Annie Jacobs, a public relations executive. Annie’s infertility treatments send her spiraling out of control. What starts as a mere notion, a small whisper of the promise of motherhood, consumes her, whipping her into a frenzy.

The song’s happy dance beat underscores the need to surrender to circumstance, something both Sarah and Annie eventually do at the end.

Tell me Y

Having never written from a male perspective, I was worried Annie’s husband John could easily become a stereotype. After all, who do you think of when a couple is dealing with fertility issues? Not the guy.

When John sensed his marriage was coming undone, I’d listen to Peter Gabriel’s tender, yet melancholy Blood of Eden, which perfectly captured what John felt as his wife spun out of control in a vortex of hormones, emotion, and deep craving that he cannot understand. He missed the intimacy of their life before sex became mechanical.

Was this guy married to Annie too? He tipped his glass to Peter Gabriel, comrade in misery.’

A Whisper to a Scream
Several years ago, I bought the Indigo Girls album Rite of Passage. One track is Galileo, which talks about reincarnation and how many times must we go around until we finally get this life thing right. But instead of reincarnation, I envisioned a young woman who kept reinventing herself from location to location. That became Until My Soul Gets It Right, about another classics book club member, Catherine Elbert.

She was a fraud. Had been for years.’

Until My Soul Gets It Right

I’d wanted the final book in the series to be a love story. Opposites attracting is always fun, so why not bring together fastidious Anglophile computer programmer Thaddeus Mumblegarden IV and the free-spirited daughter of Hippies Spring Pearson in A Groovy Kind of Love?

The chance to delve into the 60s and the Pearsons’ background was too much fun to resist. Only a small child when the Hippies embarked on their psychedelic journey, I was drawn to their sense of freedom, something I had never felt growing up as an only child.

A-Groovy-Kind-of-Love-800 Cover reveal and  PromotionalEvery day while writing Spring’s childhood, the velvety smooth vocals of Jim Morrison in The Doors’ classic Light My Fire showed me a window to their world and explored quintessential sixties sounds. I mean, does anyone use an organ like that anymore? Aquarius belted out by the 5th Dimension and originally from the musical Hair signified pure freedom. Anything was possible if you opened your mind and let the sunshine in. That bass line underscores the funkiness of the dance. You can’t help but move.

That’s how I felt about the Pearsons. Sure, they might be potheads who left their eleven-year-old daughter in charge of their juice bar, but you can’t help but like them.

In contrast, Thaddeus’s family is traditional, and he, himself, is more formal. The Brandenburg Concertos played on repeat while writing his chapters. They helped me focus on structure and complexity. While driving, Thaddeus puts on the local classical music radio station hoping for Handel or a medieval madrigal.

Instead one of John Cage’s twentieth-century avant garde sonatas accosted him, which he immediately turned off with disgust. Better no music than that trash!’

A Groovy Kind of Love

Music helps my imagination find its sense of time and place. It’s almost hypnotic. As soon as one of my inspiration songs plays, I’m back in the 60s with the Pearsons, bouncing from coast to coast with Catherine, or drinking scotch with John. I really cannot write without it.

Karen Wojcik Berner writes contemporary women’s fiction, including the Bibliophiles series. An award-winning journalist, her work has appeared in several magazines, newspapers, and blogs, including the Chicago Tribune, Writer Unboxed, Women’s Fiction Writers, and Fresh Fiction. She is a member of the Chicago Writers’ Association. When not writing, she can be found on the sidelines of her youngest’s football or lacrosse games, discussing the Celts with the oldest, or snuggling into a favorite reading chair with a good book and some tea. Find her on Goodreads, Facebook, her blog, Google +, and Twitter @karenberner

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Music for tragedy, coming of age, romance – Karen Wojcik Berner

for logoMy guest this week says she was a singer long before she was a writer, and when she started writing, music was a natural place to find story inspiration. She writes a series of novels based around the members of a book club, and many of the titles and characters come from tracks that have been special to her. I took unashamed pleasure in seeing Icicle Works and Peter Gabriel make an appearance – the latter with Sinead O’Connor (gasp). And one of her books was inspired by a track by Indigo Girls, which talks about reincarnation and the soul reinventing – possibly a familiar idea to longtime visitors here. Anyway, she is award-winning journalist and contemporary women’s fiction author Karen Wojcik Berner and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Debbie Bennett

for logo‘A sequence of notes can transport you to a time and place’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold  a moment still to explore its depths. This week’s post is by crime and psychological thriller writer Debbie Bennett @debjbennett

Soundtrack by Alice Cooper, Soul Asylum, Bon Jovi, Skid Row, The Seekers

I always wanted to be musical. I’m sixties-born, but identify most with the 1980s – the era of the New Romantics and the beginnings of computer-generated music, but I always had the hidden desire to be a full-on rock chick with my AC-DC, Whitesnake and Rainbow albums! Yes – I did the whole biker-jacket and leather mini look too (see proof here!). I wanted to play music too, but we didn’t have a piano and it took me four years of compulsory music lessons at school to realise I was never going to get past Chopsticks! My teenage daughter is a talented musician and singer, but I don’t think the genes come down my side of the family.

DB_011006075So I turned my creative impulses to writing – firstly fantasy and more recently crime. My first crime novel was dark. Very dark. Part crime, part psychological thriller, we’re dealing with street drugs and rent boys, but while there are police, the story is told from the point of view of the ordinary people involved. And music plays its part in setting mood and tone.

Fateful meeting

The hero in Hamelin’s Child is Michael, who we follow through another two books – Paying the Piper and Calling the Tune. Michael goes clubbing to celebrate his seventeenth birthday and meets Eddie, after which life is never going to be the same again. Michael’s journey from middle-class suburban naivety through heroin addiction and out the other side is Alice Cooper’s I Never Cry, particularly when he’s thinking about jumping off a motorway bridge.

They’d all done their best, in their own way, to help him forget the past and he couldn’t blame them for not understanding that he didn’t want to forget. He needed to remember. It was the only way he could make any sense out of it all.’

Sometimes it’s not even the lyrics is it? It’s the mood of the piece – the actual notes in a certain sequence that can instantly transport you to a certain place or time in your life. Or even just an emotion. Synaesthesia, they call it…

Out of control

Also in Hamelin’s Child, we have street-kid Lee. He’s Soul Asylum’s Runaway Train or Bon Jovi’s Someday I’ll be Saturday Night. A life out of control on a one-way trip to self-destruction.

‘He bought me comics,’

Lee says, referring to the best of his mother’s boyfriends, the man who eventually decided he preferred son to mother, at which point Lee was out on the streets. Runaway Train came out in 1992 (or so my CD case tells me) and it was many, many years later when I found it on Youtube and saw for the first time that the accompanying video is all about missing kids. Strange but true.

RATLINEx2700In Paying the Piper, we first meet my bad-boy Lenny, who started out as a bit-player but I soon realised was way more involved than I’d first thought. Lenny is Skid Row’s 18 And Life, albeit with a lot more money and a public school education. It’s not until Calling the Tune that we learn of Lenny’s real childhood and he becomes far more ambiguous and complex. Lenny’s story continues into Rat’s Tale and new release Ratline and his music becomes softer and more uncertain as we get inside his head. Now it’s less rock and more Don’t Think Twice, It’s All Right (the Seekers version – way better than Bob Dylan, in my opinion).

I can’t in all honesty say I listen to music while writing, because I find any noise hugely distracting when I’m working (although a playlist on my iPhone is a Godsend in an open-plan office in the day job). But I do find that music fits the mood of the moment when I’m writing and I’ll subconsciously look for and play certain tracks – even if only in my mind.

Debbie Bennett claims to get her inspiration from the day job in law enforcement. She can’t talk about a lot of the stuff she’s seen and done over the years, but it stews and matures in her mind and often comes out in some twisted form in fiction many years later. She’d tell you more, but then she’d have to kill you afterwards. Her website is here and you can find her on Twitter as @debjbennett

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‘A sequence of notes can transport you to a place and time’ – Debbie Bennett

for logoMy guest this week says she was always secretly a rock chick, and has provided pictorial evidence to prove it. When she turned her creative impulses to writing, music helped create the mood and tone. She writes gritty crime with a heavy dose of psychological thriller, and drew on a aural landscape of Alice Cooper, Soul Asylum, Bon Jovi and Skid Row. She is Debbie Bennett and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Suzie Grogan

for logo‘A sense of collective trauma across a century’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold  a moment still to explore its depths. This week’s post is by Suzie Grogan @keatsbabe and @shellshockedgb

Soundtrack by Nick Drake, Kenneth Branagh and the Moody Blues

An ‘Undercover Soundtrack’ reflecting the writing I have been doing over the past two years, and which I will continue to work on for the foreseeable future, offers a particular challenge. Not specifically character driven, yet evoking a sense of collective trauma across a century, my most recent book Shell Shocked Britain: The First World War’s legacy for author picBritain’s mental health is a call to arms for those responsible for supporting service personnel and their families on into the 21st century. It is a tough subject, taking a writer to scenes of horror and despair worthy of the darkest psychological thriller; yet the writing must inspire hope and promote understanding and compassion. Some 80,000 men were diagnosed with shell shock during the Great War, but that is a gross under-estimate. It does not include those that broke down post-war, or who suffered in silence until the ends of their lives. It does not include those on the Home Front – families torn apart by grief, or affected by the trauma of air raids. The soundtrack to Shell Shocked Britain is a varied one indeed.

Gentle despair

The first track I have to mention is Day is Done, by Nick Drake. Drake was a precociously talented young man who found the world a difficult place to live in, despite the opportunities that it offered to express himself through his love of music. My poor husband, regularly working with me at home, was shushed and ignored as I tapped away to the complex and unorthodox guitar and the melancholy lyrics.

Can despair ever be gentle? As I wrote Shell Shocked I came to realise that ultimately it was the return to what passed for normality, the requirement to fit in to a world forever changed, that broke many men post war. One young man wrote, in a note found in his pocket following his suicide

The day is one of intense loveliness, but the purpose for which I came down must be accomplished.

He had served with great courage at the Front, but life had become meaningless for him. Men lost their way, could no longer communicate with loved ones and found solace in self-medication.

Occasionally I would reach a point in the manuscript where I felt drained of any emotion and it was then I would turn to Nick Drake. He ended his life with an overdose of antidepressants, planned or accidental. The track recharged my commitment to expose the horrors and give that despair a voice.

Wilfred Owen

Is it cheating to include a recording of poetry? Kenneth Branagh reading The Parable of the Old Man and the Young by Wilfred Owen (a poet whose death occurred so close to the end of the First World War that his parents received the telegram on the day the Armistice was signed) was a track that I turned to when I really wanted to evoke that real sense of horror at what the men in the trenches suffered, without any graphic depiction of the physical privations. Read so simply, the deep meaning can elude you. But if ever I needed reminding that despite all the warnings, in the face of so much evidence, a man’s emotional and physical well-being was denied throughout the period of the Great War and then for years afterwards, this is the track I turned to. Those final lines are chilling:

Behold,
A ram, caught in a thicket by its horns;
Offer the Ram of Pride instead of him.
But the old man would not so, but slew his son,
And half the seed of Europe, one by one.

Researching Shell Shocked Britain I was not surprised to read that those in government were reluctant to step back from the horrors, but I was stunned at the level of ignorance that continued well after the war, and which left families to cope with damaged men, or consigned them to lunatic asylums.

The question

Finally, no other song threads its way through the pages of my book like Question, written by Justin Hayward and sung by the Moody Blues. Question – how would we respond to a Spanish influenza outbreak that killed 200,000 people in a year? Question – how could anyone really believe that a spiritualist medium could talk to sons, brothers, lovers lost in shellthe mud and blood of the trenches to the point where some 5000 séance circles were established and thousands would crowd halls large and small to hear a medium communicate with the dead? Question – why did doctors continue to believe men with symptoms of shell shock were malingerers or cowards well beyond the end of the war, leaving thousands of men lost in local lunatic asylums? Question – why do we hear so little about the rise of the eugenics movement post First World War, little realising that many historical figures advocated the eradication of the mentally ill from the ‘breeding’ stock of Britain. And Question – why, 100 years on are young men and women still suffering levels of PTSD wholly unacceptable in a modern military?

We may not have the answers, but we, like the Moody Blues, must keep asking the questions.

Suzie Grogan is a London-born writer, researcher and editor, published in national publications on the subjects of health (focusing on mental health), women’s issues and social history. She has had two books published and is currently working on two further commissions for Pen and Sword Books for publication in 2016 and 2017. In her spare time she dabbles in fiction and has her own imprint, Mickleden Press. Married with two children – one a philosopher, one a high jumper – she lives in Somerset but has her heart in the Lake District and London. Her long-standing passion for poetry, especially John Keats, has led to the wicked rumour that there are three people in her marriage… Find Suzie on her website, her blog, Facebook, Pinterest and Twitter, where she is both @keatsbabe and @shellshockedgb. Shell-Shocked Britain is available on Amazon or from the publisher.

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‘A sense of collective trauma across a century’ – Suzie Grogan

for logoMy guest this week is a writer of non-fiction. Her book is an exploration of the legacy of the World Wars on mental health – the soldiers who developed shell shock, broke down afterwards or endured their nightmares in silence. And those on the home front too, the families torn apart by grief or traumatised by air raids. Her soundtrack is honest and searching, seeking a way to do justice to a tough subject. There is the gentle despair of Nick Drake, the Question of the Moody Blues, and a reading of Wilfred Owen by Kenneth Branagh. The author is Suzie Grogan and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Jake Kerr

for logo‘Music was solace, understanding and escape’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold  a moment still to explore its depths. This week’s post is by award-winning science fiction author Jake Kerr @jakedfw

Soundtrack by Crosby, Stills and Nash

Jake-Ellen Datlow pic-fullWhen I was 10 years old I had two passions in my life: Music and reading. I was never that good at producing music, so I did the next best thing–gathering up all the 45 RPM records I could, stacking them on my cheap plastic phonograph player, grabbing a laundry clip, and then pretending I was a DJ. Similarly, I wasn’t very good at writing, so I would write reviews and commentary about the books I read. I would discuss what I liked about the stories, what the writer did well, and all the things that I didn’t like and how he or she had failed. I would type these up on sheets of paper, staple them together, and then collect them in a drawer.

I wasn’t really a DJ, and I wasn’t really a literary critic. And I definitely wasn’t a musician or a writer.

Such is how dreams are born.

At the age of 27 I was hired to move to Los Angeles to write a column about music and the radio industry. I told all my friends: ‘I’m not really a DJ playing music, and I’m not really a writer or writing about stories, but I have achieved this amazing thing of merging my two dreams into one: I’m writing about music and DJs.’

It took about six years before I realized that this wasn’t really my dream. Music wasn’t something I wanted to do. It was part of who I was. I lived through music, where it would provide me with solace, understanding, and escape. But I didn’t want to actually create it or write about it. I experienced it. It was me. But I needed more from books. I did want to create. I did want to write the books, to tell the stories.

Such is how dreams are formed.

So I live the dream, and I write the stories. But make no mistake: The music is still there. Sometimes it is the soundtrack to what I’m writing, inspiring me even as it sets the tone and attitude of the words forming in my mind. Sometimes it is the source of the scene I’m writing, providing me with raw material that I never would have experienced otherwise. And sometimes it is the story. But the role of music in my dream is always there.

The song is the story

This is happening right now. I am writing a story for the third volume of Hugh Howey and John Joseph Adams’ Apocalypse Triptych. As I began thinking of the story I wanted to write, the song Southern Cross by Crosby, Stills and Nash was playing, and I immediately realized that this particular song was the story. There are lines in that song that are both heartbreaking and yet oddly hopeful. The more I thought about it, the more it integrated with my ideas for this apocalyptic story. It didn’t just set the tone of the story; it was the story.

So I put the song on repeat and started writing. The song, with its gentle rhythms and bittersweet lyrics took me exactly where I wanted to be for my story. The melancholy, the hope, the dream, the freedom—it was all there.

TB SoL ebook cover 100 dpiIt’s odd. For various rights reasons I couldn’t actually include the song in the story. As a result, no one who reads the story will know of its importance. This is common. For many of us, certainly me, while there is not always this explicit a connection between the music and the words on the page, some kind of connection is always there, and it is powerful. I somehow knew it when I was 10. It just took me many years to understand how to put the pieces together.

After 15 years as a music industry journalist Jake Kerr’s first published story, The Old Equations, was nominated for the Nebula Award from Science Fiction Writers of America and shortlisted for the Theodore Sturgeon and StorySouth Million Writers awards. His stories have subsequently been published in magazines across the world, broadcast in multiple podcasts, and been published in multiple anthologies and year’s best collections. A graduate of Kenyon College, Kerr studied fiction under Ursula K. Le Guin and Peruvian playwright Alonso Alegria. He lives in Dallas, Texas, with his wife and three daughters. His debut novel, Tommy Black and the Staff of Light, an adventure story for teen and pre-teen readers was released in 2014. Find him on Facebook, on his website, find more about Tommy Black here, and tweet him as @jakedfw.

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‘Music was solace, understanding and escape’ – Jake Kerr

for logoMy guest this week describes a journey – of looking for a life path, of circling around it many times until he found where he was meant to fit. He says he thought he wanted to be a DJ because he loved music, and indeed became a music industry journalist. Then one day he started writing stories – and realised this was how he wanted to use the experiences that music gave him. It was clearly a good move as he has been nominated for the Nebula, the Theodore Sturgeon and StorySouth Million Writers awards. He studied fiction under Ursula K. Le Guin and Peruvian playwright Alonso Alegria and is now contributing to Hugh Howey and John Joseph Adams’s Apocalypse Triptych. He is Jake Kerr and he’ll be here on Wednesday with his Undercover Soundtrack.

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