Today, Lori is interviewing Daniel Weizmann. They’ll be talking about his neo-noir mystery, The Last Songbird.
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In this episode Daniel Weizmann and Lori discuss:
- Why you should resist the urge to explain yourself in your writing.
- How to use the negative space to maximum effect.
- The role of music in his process and its impact in his novel.
Plus, his #1 tip for writers.
About Daniel Weizmann
Daniel Weizmann got his start at 13 under the nom de plume Shredder, writing for the legendary Flipside Fanzine. He went on to write for the LA Weekly, LA Times, Billboard, the Guardian, and others. He contributed to several books, including Drinking with Bukowski, Hardcore California, Too Cool, Timothy Leary’s last work, and DeeDee Ramone’s autobio. He has also written volumes for Def Jam rappers, standup comics, Mad Libs, and more. The Last Songbird is his debut mystery.
The Last Songbird
A gritty, fast-paced neo-noir that explores the consumptive nature of fame, celebrity, and motherhood through the lens of a driver lost in the gig economy.
A struggling songwriter and Lyft driver, Adam Zantz’s life changes when he accepts a ride request in Malibu and 1970s music icon Annie Linden enters his dented VW Jetta. Bonding during that initial ride, the two quickly go off app— over the next three years, Adam becomes her exclusive driver and Annie listens to his music, encouraging Adam even as he finds himself driving more often than songwriting.
Then, Annie disappears, and her body washes up under a pier. Left with a final, cryptic text— ‘come to my arms’— a grieving Adam plays amateur detective, only to be charged as accomplice-after-the-fact. Desperate to clear his name and discover who killed the one person who believed in his music when no one else in his life did, Adam digs deep into Annie’s past, turning up an old guitar teacher, sworn enemies and lovers, and a long-held secret that spills into the dark world of a shocking underground Men’s Rights movement. As he drives the outskirts of Los Angeles in California, Adam comes to question how well he, or anyone else, knew Annie— if at all.
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