Audiobooks New Zealand
Linn Lorkin is one of our most notoriously successful musical treasures; singer, songwriter, actor and linguist, with residencies in Copenhagen, Naples and New York, she’s been accused of being ‘good at too many things,’ but most notably, fans appreciate her writing.
Linn was taught to play the piano by her mother, and claims ‘if you train when you’re young, you never forget it.’ Hearing Nina Simone and feeling starved for artistic company or creative peers, she knew she had to get offshore. A scholarship from the French Government allowed her to do just that, albeit to explore the world of linguistic academia.
Destined to be an artist, she made her way to London in the swinging 60’s and began making up for lost time, meeting and partying with the greatest of characters. Music followed her wherever she went and she performed extensively. By fluke, she got her first job in Copenhagen after asking to sing with the resident band. They offered her 20 crona for 8 songs a night.
These weren’t originals however, and it wasn’t until an evening in New York, listening to Joan Armitrading while feeling a bit down on life, that she took pen to paper. She wrote 12 songs in a fortnight, established her prolific stance as a singer-songwriter within her communities and the rest, as they say, is history. For someone who was seen as a ‘junkie or a lesbian’ for wielding an electric keyboard at her performances - arguably one of the only women at the time doing so - this must have felt in some way vindicating.
Linn still loves to stand out in a crowd, and has always paired her flaming red locks with beautiful vintage garments that appear as a running motif throughout her memoir. As is her music; hand-picked from her extensive repertoire of original compositions that have seen their way into her shows all over the world, and lovingly reproduced as stings to begin most chapters, indicating the style or tone of the next part of the story.
From the front page of the NZ Herald, to a 6 month stint in an Italian prison, lovesick mishaps and rowdy celebrity riddled parties, Linn’s experiences and travels really do appear to rival that of Gulliver. And this is only the first installment of her story, with a second in the pipeline documenting her return to the NZ music scene in the 80s.
She is consummate in her vocation as a musician and performer, and continues to be a stalwart for music and performance where she currently resides in Tāmaki. You can catch Linn at Epolito’s Italian Restaurant on Richmond Rd on the last Tuesday of every month from 6pm-8pm, or at the Pt Chevalier RSA with her band the K’Rd Quartet for the Auckland Jazz and Blues club on Tuesdays, and often at Botticelli’s restaurant in Takapuna.
Check out her Facebook pages for more information about upcoming gigs and events
https://www.facebook.com/HeyPianoBarLady and https://www.facebook.com/linn.lorkin
For our 7th installment I got to share the mic with a woman I admire hugely, she’s a powerhouse of productivity, and she’s always got time for sending the elevator down to help other writers at all levels of their creative journeys. She is many things; public speaker, workshop facilitator, she happens to be the genius behind the Writing Room, and is primarily a screenwriter. Her credits include Fresh Eggs, The Tender Trap, Under the Vines, My Life is Murder and the Cul de Sac - to name a few.
She always wrote as a child, and went to journalism school to pursue it professionally. Figuring out pretty quickly that she preferred creative writing to current affairs, she ended up in television as a way of making a living as a writer in our wee country. She also writes short stories and theatre - the first play she wrote was based on an argument she had with Nick Ward about the fact that they had no writing work coming their way - and is a board member for The Writer’s Guild.
She began the Writing Room; a monthly session where writers from all different styles and backgrounds can come together to simply write in the presence of other writers. When she began there was nothing like this, no standard cafe or environment where all writers went to get the satisfaction and motivation from tapping keyboards. Kathryn genuinely cares about the way writers and the arts are perceived here, which is why she doesn’t mind doing behind the scenes work in advocacy with the Guild, being our lobbying voice for funding and conversations with government. The Guild also provides professional, legal and contract advice to writers.
Kathryn has had oodles of experience in entertainment, and speaks about the collaborative nature of the television and theatre industries, versus the often isolating role of novelist or memoirist. There are a lot of boxes to tick and processes to fulfil when you’re working in a large team to tell a story, but she firmly believes that the art phase, or the very early stages of developing an idea and draft, is all you - no matter what medium you’re working in. From there, theatre peeps do live, often staged readings to develop their scripts. In TV someone is always going to have to sign drafts off, give notes etc, but you know it’s finished when you feel you’ve done your absolute best - and you wouldn’t be embarrassed to show it to anyone.
At the time of our interview, she was tackling a few tweaks on her play ‘The Campervan’ which was, at that point, set for its debut at the Pumphouse Theatre with Tadpole Productions. Alas, the dreaded Rona has turned up again to foil those plans, but the show will go on! Eventually. (Links to ticketing info below.) She is continuing to develop a screenplay script that’s been a number of years in the making, and she has just completed a huuuge literary event called WriteFest, where she brought together multiple tutors for concentrated masterclasses and workshops for authors.
Her advice for young or emerging writers is;
Sign up for her workshops:
Check out Kathryn’s website, where you can also sign up for the newsletter: https://www.kathryn-burnett.com/
Follow her on socials:
Facebook @KathrynBurnett https://www.facebook.com/kathryn.burnett.77
And for tickets and further info about when to expect ‘The Campervan’
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Pip McKay was so drawn to Croatia throughout her overseas experience in the 80s, it makes sense that it provides the setting for her first novel, The Telling Time.
She began writing at the Creative Hub 7 years ago, and 3 years ago completed her Masters in Creative Writing at the University of Auckland. She finished the book in this time and explored her own craft, and has since gone on to win numerous accolades for her efforts. She won the New Zealand Society of Authors Complete Manuscript Assessment Award, the 2020 First Pages Prize and had Paula Morris provide some wonderful book notes.
Pip wanted to explore female relationships in depth, the rites of passage that pave our way to self realisation and growth - particularly when we’re outside of our comfort zones. Having the Covid Lockdown provide her with the time to devote to getting the book out there, she self published through Your Books in Wellington and has been an active participant in the latest Writers Festival circuit in New Zealand.
As Pip’s life unfolded, she was exposed to more and more immigrant children and families, Yugoslavia being a particularly poignant place of intrigue. She discovered throughout her research and travels that a lot of women moved here in secret to lead different lives, that in fact there were many secrets and hidden depths to the civil unrest in Yugoslavia at the time the book is set. These untold traumas and events provide the backdrop for our protagonists to redefine what is really important, and highlight the lengths we got to to protect our daughters (and mothers) from learning the often harrowing truth about our life choices.
Sebastian Faulks OBE was one of the judges of the First Pages Prize. He specifically likes to be transported to other places and worlds when he reads. If he felt the characters and story had somewhere to live on from - beyond those first few pages - I’m inclined to agree with him. There are numerous seeds of secrecy planted early on that drive you to unearth the plot towards their inevitable theme of finding home and belonging. And finding that you can in fact create closer bonds through being honest and allowing different generations to know your trauma, to learn from it through you, and from you.
The Telling Time traces a very distinct time in New Zealand’s history where club culture and shared language defined who you socialised with, who you could and couldn’t talk to, who you married. Pip has two sons of her own, one of whom pushed her towards finalising publication of the novel, and she’s certain that sharing knowledge and experiences cross-generationally is what enriches their relationships.
Pip is an advocate of self publication, and has a wealth of knowledge around the subject - mainly through learning things on the fly herself - and her work is a lovely inclusion in New Zealand’s literary archive now. With a potential sequel in the pipelines we’re all hanging out to see where her characters head to next, and the simple profundities of life that they learn along their travels in New Zealand, Yugoslavia and beyond.
Anyone keen to find out more about Pip and her work can visit her website
www.pjmckayauthor.com, follow her on Facebook at pjmckaynzauthor and Instagram @pj_mckay_author.
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