EVENT: 32ND ANNUAL PENNWRITERS CONFERENCE REGISTRATION IS OPEN

EVENTS

Registration for the 32nd Annual Pennwriters Conference in Pittsburgh is now open: http://bit.ly/pennwriters2019.

KEYNOTE SPEAKERS
JESSICA STRAWSER AND JASON JACK MILLER

Thursday Pre-Conference Intensive Faculty
Timons Esaias - The Crafts of Fiction: The Nuts, the Bolts, and Hoisting the Girders into Place
Deborah Riley-Magnus - Author Marketing Master Class
Coroner Lyell P. Cook - Coroners: Their history, What they do, What they see

Friday Networking Luncheon Speaker
JD Dunbar - Listen for the Lyrics

Friday Published Penns Luncheon Speaker
Siobhan Vivian - Your Next Big Idea: Developing and Heightening the Plot of Your WIP

Agents, Editors, Publisher
Kaitlyn Johnson, agent, Corvisiero Literacy Agency
Amy Bishop, Agent – Dystel, Goderich & Bourret LLC
Bibi Lewis, Agent – Ethan Ellenberg Literary Agency
Danielle Dieterich, Editor – G. P. Putnam’s Sons, a division of Penguin Random House
Rhonda Penders – The Wild Rose Press

32nd Annual Pennwriters Conference
Friday, May 17, 2019 9:00 AM - Sunday, May 19, 2019 1:00 PM (Eastern Time)

Pittsburgh Airport Marriott
777 Aten Road
Coraopolis, Pennsylvania 15108
United States
412-788-8800
EVENT DETAILS

Conference Coordinators: Pauline Drozeski & Hilary Hauck, ConferenceCoordinator@pennwriters.org

Registration Coordinator: Cathy Seckman, ConferenceRegistration@pennwriters.org

THE BIG THRILL!

Many thanks to Derek Gunn for some great questions and to THE BIG THRILL for the opportunity!

Read the interview here: http://www.thebigthrill.org/2018/02/all-saints-by-jason-jack-miller/

WORKSHOP: UPL Writers Workshop with Heidi Ruby Miller and Jason Jack Miller

This week (Wednesday, February 15) at the UPL Writers Workshop, we'll continue our discussion of formatting and submitting and will do a critique of another writer's work. Hope you can join us!

The Uniontown Public Library offers a Writers Workshop led by authors Heidi Ruby Miller and Jason Jack Miller each Wednesday afternoon. The weekly meetings will include a short writing lesson, writing tips and advice, and a discussion about members’ work. We'll be using lessons from Many Genres One Craft. Each lecture and activity will be self-contained in case you can't attend every week. 

This is a great opportunity to meet fellow writers, talk about your ideas, and explore your creativity. The UPL Writers Workshop is a free program and writers of all genres and experience levels are welcome!

The Writers Workshop will meet every Wednesday from 4:30 – 6:00 PM in Meeting Room A.

If you have any questions, please contact UPL at (724) 437-1165.

Heidi Ruby Miller and Jason Jack Miller started as travel writers more than a decade ago and continue to explore the globe, but now as research trips for their fiction. In their spare time, they teach in Seton Hill's MFA in Writing Popular Fiction program. Between them, they have published six novels (with two more forthcoming this year), a hundred short stories, poems, articles, and essays, and a travel guide. They chronicle their adventures on Instagram and YouTube under their own names, as well as their shared project Small Space Big Life.

Next up--BOOKtober!

September 29--DogCon V

DogCon is a big shindig RDSP holds every year to celebrate books, authors and all our supporters. It’s a chance for the RDSP family to get together, meet each other, show off the latest works and begin new creative ventures.

Details can be found here: http://rawdogscreaming.com/dogcon-5-broadkill-writers-resort/

Oct. 12, 5-9 p.m.--Whiskey and Words

Book and author vendors signing autograph and selling their books, Whiskey and Words will have lectures taking place inside the barrelhouse throughout the evening. Wigle Whiskey will also be dishing out a bevy of delectable drinks, a traveling food truck (TBD) will be slinging eclectic eats and there will be live outdoor musical entertainment during the evening’s soiree.

Details can be found here: http://www.pghcitypaper.com/pittsburgh/whiskey-and-words/Event?oid=1950438

October 15--10th Annual Western Maryland Indepent Lit Festial

The Frostburg State University Center for Creative Writing, in partnership with the Allegany County Library System, is excited to announce that the ninth annual Western Maryland Indie Lit Festival is scheduled for Oct. 14 & 15 at Main Street, Frostburg. The event brings together editors and publishers with writers and educators of the local community. Panel discussions and roundtable sessions include topics on various creative genres, DIY publishing, self-publishing, promotion and marketing, writing local, and reading and writing online.

Details can be found here: http://www.frostburg.edu/cla/indie-lit-festival/

MIX TAPE: The Dream of the Nineties!

Was talking to Mikey Rega (of the concert t-shirt debate fame) and I was telling him a little about PORTLANDIA. Not sure whether or not he'd seen it, I sent him a link to the season one intro.



But I had been in a bit of Nineties nostalgia mode prior to this discussion. Has something to do with the idea of, "...it was twenty years ago today." A few weeks ago, I dug out PJ20 and listened to a bunch of old shows. Then I Googled pics of Lisa Bonet from A DIFFERENT WORLD. (Damn, girl.) All of it got me thinking what WERE the 90s and why do I care?

I turned 20 in 1994, and I know that has a lot to do with it. It was a golden era for me, as I'm sure it is for most twenty-somethings. I had killers jobs--whitewater raft guide, record seller at National Record Mart, bookseller at Waldenbooks, seller of Timberland boots, Guess jeans, and Oakley shades at American Outfitters, where I met the lovely Heidi Ruby. I am also keenly aware that my current age has finally given me perspective enough to realize the passage of time makes any era distinctive. Because news and pop culture are fluid events, eras tend to blend until we get enough distance to stand back and take a look at the collective material from the culture rather than a snippet or two.

So, how do I define MY Nineties?
In no particular order: NORTHERN EXPOSURE, Patagonia clothing, Tevas, the Alice in Chains three-legged dog cover, Nalgene bottles, SUPERUNKNOWN, PULP FICTION and its amazing soundtrack, beaded necklaces, Baja shirts, THE CHRONIC, Bill Clinton, Woodstock '94, Dave Matthews Band, Pearl Jam, Lemieux, Jagr and the Pens, Drew Barrymore's Guess ad, Adam Sandler, Mudhoney, Structure, FREAKS AND GEEKS, Sony PlayStation and JET MOTO, Kurt Cobain, Silverchair, THE X-FILES, the Jennifer Aniston ROLLING STONE cover, OJ, coffee, SEINFELD, CLUELESS, THE LION KING, Netscape and Lycos, this Chicago Blackhawks jersey I loved and can no longer find... I could go on, but why?

I suppose one of the things I find most inspiring about the time period is the way some of these artists have continued to pursue art on their own terms, shunning the corporate ideals and commercialism that has reared its ugly head in some of the current era's art with seemingly greater frequency. (I know the money was present back then too, but Pearl Jam's fight against Ticketmaster is an important symbol, to me at least, of idealistically pursuing creation over money.) If nothing else, it gives me great pleasure to see MY heroes subtly rising through (with?) the ranks of Mileys and Pharrells to their rightful places as creative icons and veterans of a vicious industry. Maybe it's more a Gen X thing than a Nineties thing, but as somebody engaged in creative pursuits, I believe the ideals of that era are as important to me now as they ever were. Writing is about a fierce independence and living on your own terms. I feel like those are Nineties ideas.

Here's a little of the music I missed the first time around. (And it takes us back to PORTLANDIA.) Been loving Sleater-Kinney's new album. But here's a little taste of some older stuff to get you in that mode.

Sleater-Kinney - Live @ Coachella Valley Music & Arts Festival, USA, 30-04-2006

Source: Soundboard

Setlist

1.     What's Yours Is Mine 
2.     Jumpers  
3.     Rollercoaster
4.     Sympathy 
5.     Oh!  
6.     Modern Girl
7.     Get Up 
8.     The Fox  
9.     Step Aside
10.  Let's Call It Love  
11.  Entertain 

Check it out here: http://livebootlegconcert.blogspot.com/2013/04/sleater-kinney-live-coachella-valley.html

HAPPY HALLOWEEN 2014!

Trick or treat--here's my virtual Halloween costume for 2014! Now I'm off to get a few Cuba Libres.

Click the link and scroll down to see last year's Virtual Halloween Costume: http://www.jasonjackmiller.com/p/wreck-net.html

This is a little something I wrote for the program which was distributed at the inaugural Pennsylvania Literary Festival, held this spring in Uniontown.

My words were rooted in these hills, carried on the backs of the Irish farmers who followed the Potomac southwest instead of crossing the spruce-covered ridges of the Allegheny Front. My muscles formed from climbing white oaks and boulders, from hauling firewood. The mountain rivers that flashed through narrow canyon walls, over boulders and under high railroad bridges flowed through my veins. Laurel brakes that nestled beneath Pottsville sandstone ledges were my nursery. Sad fiddle tunes, played by old-timers beside a dying fire, were my genetic code.
 
These words from the epilogue of my second novel, Hellbender, came from the point of view of my main character, Henry Collins. But as the author, I had specific experiences from my

own corner of Appalachia in mind as I wrote them. Growing up among the ridges and mines of Fayette County—a place long written off by people who don’t get it, or don’t try to—has inspired almost a million words of my published fiction and nonfiction, and has left me with enough gas in the tank for at least a million more. From the Youghiogheny River’s Dimple Rock rapid to an abandoned coal mine called Crow’s Works, just outside of Fairchance, the locales of my home live on in the minds of readers, many of whom have never set foot in these hills, but now want to because of my books. The Currence farm from The Devil and Preston Black is based on my Great-grandmother Muchnok’s, near Dunbar. And Mick’s guitar shop? It’s where I bought my first guitar. And it’s still there, on Morgantown Street in Uniontown.
        

I ended Hellbender with the line Blood is not thicker than water. Family isn’t who you are born to, but with whom you choose to spend your life. And maybe I’m one of the lucky ones, because my wife Heidi and I chose to move back here after a stint in Florida. We chose to be close to our families and friends, to live in a place we’d call home no matter how far we wandered.

And this is why I’m so happy that the Pennsylvania Literary Festival’s journey starts here in Uniontown. Right where my very own literary journey did. It’s a place that fosters strong, deep roots. 

WRITING PROCESS BLOG TOUR

Thank you Albert Wendland for inviting me to participate in the My Writing Process (#mywritingprocess) blog tour.

1) What am I working on?

Right now I'm juggling a few things. As long as they don't fall at the same time, I'm good.

ALL SAINTS is the next part of the MURDER BALLADS AND WHISKEY series. It tells Ben's story after the events in THE REVELATIONS OF PRESTON BLACK. Ben is dealing with his PTSD and some other issues as a few of some of Dani's old enemies close in. Right now I'm working on a section from Dani's POV that sets the stage for the events in ALL SAINTS to play out. I'm really excited to be telling her story, and in a way, I think I'm seeing MURDER BALLADS AND WHISKEY is as much about her as it is Preston, Katy and the gang. 

The other big thing I got going is the thriller I'm working on with Heidi. Kind of like CHILD 44 meets THE X FILES. Very, very excited about this.

Lastly, I'm repackaging THE DEVIL AND PRESTON BLACK and THE REVELATIONS OF PRESTON BLACK into an Amazon bundle which will include song lyrics, short stories, some article I've written about the music I curated for the books. Kind of a Preston Black 'starter kit.'
 

2) How does my work differ from others of its genre?

If anything, it's urban/dark fantasy meets rural noir. The back cover blurb for HELLBENDER describes it as 'JUSTIFIED with witches,' but it's a lot more than that. THE DEVIL AND PRESTON BLACK reveals some strong literary elements while sticking to a fairly structured plot. Most of the horror elements are subtle, and of a more personal/less supernatural nature. THE REVELATIONS OF PRESTON BLACK is a more tightly structured plot that lets it sit firmly in the catbird seat between dark fantasy, horror, and supernatural thriller.

The best part of this nebulous genre labeling? My readers come from across the spectrum. Literary readers see deeper meaning in Preston's actions. Romance readers see the love triangle between Preston, Katy and Dani. The only thing it isn't, is SF (until PRESTON BLACK AND THE SPIDERS FROM MARS, that is.)  

3) Why do I write what I do?

I write what I know and love. Music, travel and the power of place, meeting the girl of your dreams. I try to live in a way that puts her first, and I think that's why the relationships are always at the center of my plots. And then there's the drinking...

4) How does my individual writing process work?

My process doesn't emanate from any particular place. The plot of REVELATIONS came from an image I had in my head—a woman walking through a swamp with fistfuls of vipers. HELLBENDER was conceived when a crazy weekend on Spruce Knob, West Virginia joined forces with a bunch of guide stories I hoped to tell one day. The book is is essentially a result of my love of the mountains. THE DEVIL AND PRESTON BLACK is my love letter to music.

But the process begins with a complete outline. Okay, 80% of an outline. Pages and pages of research—setting details, colloquialisms, historical details. I need to get as immersed in a world as I possibly can. The details let plot points reveal themselves to me as I go. That deep knowledge lets my outline—maybe that final 20%—materialize while I write.    

Here are some other participant responses:
Heidi Ruby Miller

Jen Brooks

Anika Denise 
Shawn Hopkins
Eva Hudson
Rhonda Mason
Albert Wendland
K. Ceres Wright

Beatles on Ready Steady Go, November 23, 1964.

So I'm watching this Beatles vid from this day in 1964, and I'm trying to draw parallels to my own career. Which is stupid, because I'm not a Beatle. But I figure THIS is still their infancy. THIS is the band before the alternate personas and transcendental meditation.

I know, I know... These are The Beatles and you're just writing books about a guitar player and a woman who may or may not be the devil. But I love the idea of a young band, playing just to play. Smiling at the camera like nobody's watching. And that's how I write on a good day. Like nobody's reading. And that's why I'm going to continue to look at The Beatles as role models in 2014. And the haters can just keep hating.

DOWNLOAD: THE BOOTSTRAPPER BIBLE

 

I am the underdog. I realize that others are rooting for me to succeed, and I will gratefully accept their help when offered. I also understand the power of favors, and will offer them and grant them whenever I can. 

                                                   -Seth Godin, THE BOOTSTRAPPER BIBLE

In my experience, a lot of writers feel like it's a little crass to sell yourself. I always thought this was silly for two big reasons:

1. Fiction is selling. Whether it be a world, a character, or an idea, you are trying to convince the reader to believe you and your BS.
2. Writers want to be read.  

Maybe it's crass that I'm not ashamed to admit it, I don't know. But I'm grateful for guys like Godin, who have done a lot of the heavy lifting when it comes to providing a framework for guys like me.   

Read the rest, or download the PDF at SethGodin.com.

NaNo Playlist!

Some tunes for those marathon NaNoWriMo sessions! With long(ish) and (somewhat) droning songs, this playlist was designed to keep you in the moment. Put your headphones on, turn it up, tune out. 

Writing and the Art of Rejection.

People love rejection.

We get crushes on girls who never notice us. We buy lottery tickets knowing the chance of winning is small, but the chance of SOMEBODY winning is great. We root for underdogs, who--more often than not--prove time and time again why they were considered underdogs.

We dream of jobs we'll never have. Sights we'll never see. Cars we'll never drive.In some ways, some of us spend our waking hours dreaming of lives we'll never live. And most of us are okay with living vicariously through actors and athletes and musicians and models and writers.

But some of us think we are smarter than the rest. Some of us crave our own share of the spotlight, the blank canvas, the new chord or reinvented melody. The camera's lens. Some of us even sit in dark offices or quiet cafes, staring at virgin Word files, seeing possibility where moments ago none existed. We see characters that don't sleep. Landscapes that terrify and inspire. We catch glimpses of that emotional chain that binds us to every other human on the planet. We convert our frustrations and dreams into stories that we can package and sell to publishers and readers and in the process we're inventing whole new ways to feel that sting, the bitter bite of a rejection that we so deeply crave.

'Inventing' because we invite that rejection into our homes. Sit down to dinner with it. Sometimes we even go to bed with it. Either way, we own it because we created it and requested it.    

Personally, I love life post-rejection. The legitimized complaining and self-analysis. The guilt-free trips into the bottle. The bitter smirk that's my little way of saying, "Just wait and see what I'm going to do next. It's going to blow your doors off." And no time is more magical than that first hour or so after receiving the rejection. For about sixty minutes the mind is clear enough to let the writer solve all of the publishing industries' internal problems--distribution, marketing, genre trends. For sixty minutes we know what readers REALLY want. With luck there's time left over to tackle politics or the relative superiority of East Coast rap before reality sets in. Before the mind clouds and logic stops making sense. Before we're back in the artificial reality of our Word files.

Because you know what people love more than rejection?

We love being proven right. It's in our blood right between the hemoglobin and lymphocytes.We love knowing that our hours spent looming over the Word file weren't wasted. We love stepping around the naysayers that litter the path like dog crap on a sidewalk. Even if we have to become better writers to do it, we want to show the world that they were wrong. So we embrace rejection. We take the feeling and bank it, because without that feeling we are satisfied.

Without it, we are no longer hungry. We get sleepy. Lazy. Everybody knows that nothing good creatively can come from satisfaction.

Writing, and the art of creation--by nature--relies on rejection or some form of destructive element. Just look at how mammals flourished and diversified after the Cretaceous mass extinction wiped out triceratops and its cousins. Maybe working through rejection is how we learn to finally get it right.

I suppose we suffer rejection to achieve acceptance. We want the industry, peers and readers to like what we do and give it their stamp of approval. And as nice as that is, acceptance is a goal. The end of a path. But acceptance can't motivate because it doesn't fuel the fire quite like rejection does. Acceptance tells us that everything is okay. And if everything really WAS okay we'd have no reason to suffer the process of creation. No reason to write or create.

I say embrace the rejection. It's a reward for the hours we put in. Battle scars, and all that.

Happy birthday, Preston Black!

    A man blocked my path to the door. The PO from yesterday. I stepped to the side to get around him as another man came in. When I saw the tattoo sleeves on his arms, blues and reds running together into a mass of blotches I knew it was the guy from last night. Up close I could see dried blood bumps and scabs formed over his ink. The only teeth he had left looked like the black licorice nubs from Good & Plentys.
     "That your guitar in there?" he said. He got real close, and I took a step back, but he kept moving toward me. Close enough to see all his shitty tattoos.
     He said, "I knew who you was the second I saw you. That Dago bitch told me you died same day your mother did. But I know flesh and blood. I know it." His breath smelled foul. Sulfurous and acidic. Matches and acetone.
     On his forearm I saw a heart with an arrow through it. My mom's name was in the heart. Carlene July 16, 1966-September 1, 1983. The lettering looked like it'd been written in black Sharpie. 

     And right below it I saw an angel, and in the angel, the words Preston February 13, 1983-September 1, 1983.

It's a little hard to believe I began the first draft of The Devil and Preston Black way back in February 2008. The specifics are a little difficult to recall, but I know it was cold, probably snowy, and Heidi and I were at Panera. Besides the original drafts and notes, I can't say much about my headspace from back when I started The Sad Ballad of Preston Black, as it was called then, but I'm not surprised to see that the one thing that didn't really change a whole lot was my first line—I wish I could say I found that record the first time I walked into the place. (As I looked through my notes, I was very surprised to see that Danicka was pretty much an afterthought. "Need a shadowy devil figure in there.  Maybe the woman, his girlfriend?  She could be a good temptress.")

I knew I had to do a music book. Guitars, The Clash, amps and pedals and chords. I had to find a way to get two of my biggest passions together—like a Reese's Peanut Butter Cup with words. At the time, writing started to feel more like business and less like an urge. I'd spent a year querying Hellbender and kept getting the '…we don't know how to market it' rejections. Pretty frustrating stuff. Every writer knows the feeling. Musicians and artists know the feeling. Athletes know the feeling. Then it hit me—Preston needed to embody the conflict I felt with publishing and the frustrating fear that it'd never find its way into print.

Once I got that first chapter down, the story wrote itself. I stuck to my outline and decided The Devil and Preston Black wasn't for the agents.

This book was for me.

And since then, the book has become a lot more than a gift to myself and for that I am very grateful. In my mind, Preston symbolizes the struggle to create and to publish, and at the end of the day the book has come to represent the fulfillment I've found in some very unlikely places. The book has let me step into the magic of Nashville, Tennessee's Hatch Show Print, and it has allowed me to stand on stage with John Lennon and Duane Allman. Ultimately, it's given me some magical (and literal) glimpses behind the curtain (Thanks, Joe Streno! (scroll down to see the Strummer pic I'm talking about)) and in the end I received the contentment and satisfaction I'd always hoped for, but a thousand times over.

The book has been a way for me to meet and interact with thousands of people—both readers and people from within the publishing industry—who have overwhelmed me with their kindness and generosity. People from all over the U.S. and all the way over in the U.K. who have reviewed the book or have written let me know that the book has impacted them in some way.

So if you are one of these fine folks, you helped make this one hell of a trip. Remember Preston when you raise a glass this weekend because I'm going to be thinking of you.

PS: Before you start drinking, take a minute to check out Raw Dog Screaming Press's post on the same subject. (Thank you, Jennifer!)

G is for Genre

Originally posted at SETON HILL WRITERS, on Friday, April 8, 2011

Today, we're pleased to have a guest post by Jason Jack Miller on GENRE RESPECT.Does genre fiction receive more respect now than it ever has?

Genre fiction has certainly become more daring in the way it deals with its own tropes.  Crossovers and blurred lines between the genres allow readers to dip a toe into new reading waters without fear of having it bitten off.  Consider Max Brooks' World War Z--is it horror or SF?  Or literature, maybe?  And what about the Twilight series?  Horror or romance?  Are there readers who loved Twilight that would never in a thousand years consider picking up an Anne Rice novel?  Certainly.  Both have vampires and romance, but only one had the benefit of a rabid fan base accustomed to using social media to take their passions viral.

There have been multitudes of novels that have straddled genre throughout written history, but they have never received the type of marketing attention that books get today.  I believe our perceptions of genre are manipulated by the publisher's marketing departments and big budgets.  With the right, well-targeted fan base a genre novel can fly or flounder.  'Don't judge a book by its cover' is an old adage that may not apply to 2011 when covers are usually tied to ginormous marketing campaigns and interactive media blitzes. Just look at the evolution of the SF/Fantasy reader stereotype over the last twenty years.  From the 1990s it's the Dune/Lord of the Rings/Star Wars fan living in his mom's basement on a diet of Doritos and Cherry Coke.  The 2010s stereotype is a tween who wants to know 'Are you Team Edward or Team Jacob?'
Stories evolve and styles come and go, but readers always love what they love.  Now publishers can target readers more specifically than they ever have, and book clubs are global institutions no longer confined to library and church basements.  So while I'm not certain genre fiction receives more or less respect than it ever has, I know that fans and publishers are changing, and now more than ever fans are able to find, and talk about what they love.

Radiohead, Großer Sendesaal des SFB, Berlin, Germany July 4, 2000

Radiohead's back on the road, and it's looking like I'm going to have to take a ride if I want to see them. Which I'm not going to do. Part of me thinks that this is the year that I really need to drop everything and go, but I can't. No time.

I have to write. Have books to finish. And it's Thom Yorke and company who are keeping my ass motivated. They stay on top by maintaining a sharp focus, and that's good enough for me.

I read that they're rehearsing 75 songs for their 2012 shows, including a bunch of new stuff written at rehearsals this winter.

I read that before the band wrote "Creep" they, "...rehearsed in some town hall every day, including Christmas Eve. It was insane. There was no concept. We were working on songs some nebulous future reason we had not clearly thought through."

I read something Thom Yorke said that really gets my blood pumping. He said, "I understand why we did all those shows. If we hadn't, we wouldn't be where we are."

I read something Jonny Greenwood said, that I try to remember when my motivation is low. "What's different about us was that right from the beginning our obsession was songs." 

And finally, I read something Ed O'Brien said that I think applies to writing as much as it does to music. "It wasn't a bunch of mates, more like a bunch of co-conspirators. We had this common goal. That's what it was all about, dreaming it up. All this stuff we have now--there was never any doubt it was going to happen. And it did, because the material world caught up."

More than once I've heard that writers can't compare themselves to musicians, that writing is not making music and selling books isn't the same as selling songs and I used to think Bullshit! because creation is creation. Over and over I keep getting sucked back toward musicians as sources of inspiration because they talk about creation, whereas writers talk a lot about writing. Verbs, nouns, techniques.... I went to school to learn all that, I want to hear what successful creators have done to get where they're at. Maybe I'm not looking in the right places, I don't know. Maybe it's because writing isn't as immediately exciting as music, and the process doesn't seem like it could possibly be as clever. Either way, I love pulling energy from guys like Radiohead and The Clash because so much is written about the way they CREATED.

Download this show at Sugarmegs. Just do it. Especially since it's all rainy out today. Great sound quality.

Radiohead
Großer Sendesaal des SFB
Berlin, Germany
July 4, 2000
STEREO VERSION

01. Optimistic
02. Morning Bell
03. Karma Police
04. The National Anthem
05. In Limbo
06. No Surprises
07. My Iron Lung
08. Dollars and Cents
09. Bishop's Robes
10. Talk Show Host
11. Kid A
12. You and Whose Army
13. Airbag
14. Lucky
15. How to Disappear Completely
16. Paranoid Android
17. Everything in its Right Place
ENCORE
18. Egyptian Song
19. Exit Music
20. Knives Out
21. Big Ideas (aborted due to tech problems) Nice Dream

Source: Appears SBD based on quality and separation of instruments / audience. If not SBD, then it's an excellent Audience recording. Received CDR as a trade>Converted through Rio Music Manager> FLAC. Best Source known.

This show was before the official release of Kid A.

EDITORS DESCRIBED from the AUTHORS GUILD BULLETIN

Giles Harvey, a former member of The New York Times Review of Books staff, wrote in that magazine:"Vladimir Nabokov referred to editors as 'pompous avuncular brutes.' T.S. Eliot said that many of them were just 'failed writers.' And Kingsley Amis, that laureate of cantankerousness, spoke of how the worst kind 'prowls through your copy like an overzealous gardener with a pruning hook, on the watch for any phrase he senses you were rather pleased with, preferably one that also clinches your argument and if possible is essential to the general drift of the surrounding passages.'"

Low-Residency MFA Handbook: A Guide for Perspective Creative Writing Students

I am one of several Seton Hill Writers who contributed to the Low-Residency MFA Handbook: A Guide for Perspective Creative Writing Students by Lori A. May. This guide offers prospective graduate students an in-depth preview of low-residency creative writing MFA programs, as well as interviews with program directors, faculty, alumni, and current students.


Low-Residency MFA Handbook by Lori A. May

Here is the full list of Seton Hill Writers:
Shelley Bates (Shelley Adina)
Matt Duvall
Natalie Duvall
Heidi Ruby Miller
Jason Jack Miller
Cynthia Ravinski
Nicole Taft
Albert Wendland