August 28, 2025 • 12 mins
Eleven years and another life ago, Clara Bishop was a rising star pianist. Everything changed on the night of a festival marking the 145th birthday of Poland’s revered composer and Clara’s distant relative, Aleksander Starza. She began that night as an artist in her own right—no longer defined by Madame, her exacting teacher. But after a devastating fire broke out in the concert hall, she left badly scarred. Since then, Clara hasn’t touched a piano or spoken to Madame, whom she blames for her career-ending injuries. Now, at 30, she has a new life in Texas as a bartender. No one there knows about her past—until Madame dies and leaves her a cryptic inheritance: a metronome linked to a notorious 19th-century murder.In her literary debut, THE FIRE CONCERTO (Union Square & Co.; June 10, 2025), Sarah Landenwich presents a richly layered, twisty story about three women of remarkable musical talent connected by tragedy. For Clara, what starts as a search for the origins of Madame’s unusual bequest turns into a mission to find the lost compositions and restore the tarnished reputation of a brilliant 19th-century female pianist from Poland. Along her journey, Clara uncovers startling truths about her formidable mentor and herself. THE FIRE CONCERTO opens in 1997 with Clara as she struggles to make sense of the gift Madame left her. Could this oddity be the metronome, missing since 1885, that belonged to her ancestor, the composer Aleksander Starza? Was it the murder weapon used by the woman accused of killing him, the pianist Constantia Pleyel? How did Madame, an orphan who fled Poland in 1939 and made her own way into Juilliard and onto the concert stage, come to possess this priceless, storied antique?Seeking answers, Clara finds an unexpected ally in her childhood rival and teenage crush, Tony Park. Another of Madame’s chosen beneficiaries, Tony offers to help Clara unravel the metronome’s history. Can she trust him? He’s not the only one interested in this coveted object. First, she receives an eerie phone call and then a threatening letter. Finally, someone breaks into and ransacks her home. Though filled with dread about revisiting the scene of her nightmare, Clara agrees to join Tony on a fact-finding trip to Warsaw, where Aleksander Starza lived and died.Scouring museum archives and private stashes of letters, Clara works to uncover the metronome’s haunted past. Gradually, she realizes that nothing about Starza and his murder are what they seem. And the truth about his relationship with Constantia Pleyel, who was far from the raging madwoman history has alleged her to be, is complicated. What Clara discovers could rewrite the history of music. For Clara, the revelations also strike a deeply personal chord. The metronome has a hidden inscription in Polish, translated as: “From pain, we must make beauty.” Were these words engraved to speak to Starza or to Pleyel? Did Madame intend for Clara to take this message to heart?
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hi, Sarah, how are you doing.
Speaker 2 (00:01):
I'm great, how are you?
Speaker 1 (00:02):
Absolutely fantastic and very excited to share a conversation with
you because I want to know how this story came
into being, because there's just so much involved in it
that it's like I always like to ask, how did
you feel this before it arrived inside our eyes?
Speaker 3 (00:16):
There's an idea in classical music with what's called your
pedagogical lineage, also known as musical ancestry. The idea behind
this is that you, as a musician, can trace back
your teaching history many generations, often to someone great or remarkable,
like a composer or a great performer, and for sports fans,
(00:37):
this is similar to a coaching tree. The idea is
that through those generations of teachers or coaches, some expertise
or style of teaching is passed down to you. So
I decided to organize a novel based on the teaching
history of three women, one in the nineteenth century, one
(00:57):
in the early twentieth century, and one in modern times,
who are connected by this teaching history that began for
them with a great composer in the nineteenth century and
his pupil, a brilliant female musician who murdered him.
Speaker 1 (01:14):
I love this because in martial arts they train this
the same exact way. You cannot earn that first black
belt unless you know the history of your grandmaster and
the grand master before him. And because you're right, whatever
move you're doing today was probably done one hundred years
ago or.
Speaker 2 (01:29):
More right, it's all kind of connected.
Speaker 3 (01:33):
And sometimes I like to say that I don't necessarily
think genius can be passed down, but what I do
think can be passed down is the traumas that are
inflicted upon us from one generation to the next. And
some relationships between teacher and pupil are very volatile, toxic ones.
(01:57):
And I mean, obviously some are fantastic rewarding ones too,
But for the purposes of this novel, that originating relationship
between the composer and the woman who killed him has
reverberations that go across history one hundreds of years.
Speaker 1 (02:14):
My wife is really into this book, and she says
one thing that she loves most is that it's the
searching of origins that really has her retention because to me,
this is what she said, It's like true crime, but
it's not a crime. You're just looking for the origins.
Speaker 2 (02:30):
Right, Yeah, how do we all?
Speaker 3 (02:32):
You know, we all go back so many, so many
years and generations even before we were born, in ways
we don't always understand, right, Like the way that we
were parented is influenced by the way our parents were parented,
and that kind of thing. And going back to the
source helps us understand who.
Speaker 2 (02:52):
We are and why.
Speaker 3 (02:53):
We behave the way that we do, so that we
can then free ourselves from that right and not have
to play out those patterns again.
Speaker 1 (03:02):
So how did you play this book out as the writer?
Because you've got three different women experiencing history. Did you
do them one at a time or did you did
you chronologically go into this and make it happen?
Speaker 2 (03:14):
No, I did not do them one at a time.
Speaker 3 (03:15):
Initially, I was thinking I was going to do a
braided narrative where you know, you have each chapter alternates
per women, you know, like one, two, three, and then
start over.
Speaker 2 (03:27):
But I quickly saw that writing a book like that.
Speaker 3 (03:30):
With this story would make a book that was like
six hundred pages lot yep, which is unpublishable.
Speaker 2 (03:36):
So I had to shrink it down.
Speaker 3 (03:38):
And so in order to do that, I was looking
around for a structure that I could kind of lay
it on top of and then ultimately I decided on
this idea of the person in the present in the
nineteen ninety seven storyline is investigating the past through these
kind of uncovered or unearthed X journals, letters, that.
Speaker 2 (04:02):
Kind of thing.
Speaker 1 (04:03):
Please do not move. There's more with Sarah Lendonwitch coming
up next. The name of the book the Fire Concerto
from Sarah Landon Witch, We're back. You did not make
me feel old going back to nineteen ninety seven. And
the reason, I mean, because so many times you're listening
to a song on the radio and they say, oh,
let's come forty years ago, and you feel old instantly,
but you taking us back, you put us in a
(04:26):
moment of Okay, this is this is this is it?
Speaker 3 (04:29):
Yeah, I mean, I mean part of that is because
I also don't want to feel.
Speaker 2 (04:33):
All in ninety ninety seven.
Speaker 3 (04:37):
I was a teenager in the late nineties and I
really loved that time. And obviously we all kind of
romanticize our youth. You know, the time of our youth,
but you have the music of that time, and you
know there's a certain tendency I think for all of
us now to look back on a time before cell
phones and be like, how did we do that?
Speaker 2 (04:58):
You know, what was life?
Speaker 3 (05:00):
And I really like thinking of that that moment in
time where it's modern but without all of these devices
that now dominate our lives.
Speaker 1 (05:13):
Wow, it's almost like you're giving us a ticket to ride,
because once you step into this story, it's it's one
of those where it's like, Okay, I'll read one more
page and then I'm going to go to bed, and
all of a sudden, you've read ten more pages.
Speaker 2 (05:24):
Well that's the best compliment you can give me, so
thank you.
Speaker 1 (05:28):
But to reach that you had to experience it first.
I mean you you had to. I mean I mean
the tension, the things that go on inside this book
and the rivalries, and that that's the thing that we
feel on this side as readers.
Speaker 3 (05:41):
Yeah, rivalry is a is a very important part of
this book, and I think that everybody probably has that
experience of remembering what it's like, especially when you're young,
to have that person that you're always measuring up against.
And in some fields and particular ones that are extremely competitive,
(06:02):
such as classical music, those rivalries are very strong and
they draw us out in some of our best ways, right,
in achieving greatness, but also in some of our worst,
in our behavior and in jealousy and.
Speaker 2 (06:20):
You know, feeling not good enough.
Speaker 3 (06:22):
So I feel like in a rivalry, we really get
to see a person at some of their most vulnerable
moments and also at some of their best.
Speaker 1 (06:31):
Yeah, would you bring them together? Which I found very
inspiring because so many times rivalries create you know, distance,
and they create valley floors.
Speaker 2 (06:40):
That's true.
Speaker 3 (06:41):
But I feel like if you as a person, can
start to see someone not as someone that is your competitor,
but as someone who can bring you up, like level
you up and learn from, then that relationship.
Speaker 2 (06:59):
Can be a really beautiful one.
Speaker 3 (07:01):
Right if you if you leave a side that jealousy
and instead accept it as this gift.
Speaker 1 (07:11):
You're gonna think I'm a freak here. Usually when there's
a rivalry, what I do is I always tell people
I'm gonna go kill them with kindness. I'm gonna go
be I'm gonna be so nice to them that they're not.
There's just just And even though I may have that
dark side, I'm still you know, it's putting positive ahead
of all decisions.
Speaker 3 (07:27):
Yeah, and then do you find I mean do you
find that then you start to like that person?
Speaker 1 (07:31):
I do.
Speaker 2 (07:32):
Yeah, right, yeah, I feel like that i'ms all of us. Right.
Speaker 3 (07:34):
You meet somebody and you initially are dealing with your
you know, your lowestel, who is jealous or whatever, and
then when you get to know them, they become someone
that you admire or you would like to be friends.
Speaker 1 (07:47):
Yeah, because I always tell people, I'll go up to
them and say, look, don't think of it as being
this is your journey, it's our journey. It's all of
us together here. You need a team player, it's all
about me. Well, no, it's not about you, dude, wake up.
Speaker 2 (07:59):
Yeah, I love that now. I think that's true.
Speaker 3 (08:01):
I mean, we none of us get anywhere without all
of the experiences that have gone before.
Speaker 1 (08:07):
So let me ask you this question only because I'm
a writer as well. And here's the thing there, there
is a feeling of music inside your storyline. Were you
listening to music while you were putting this together?
Speaker 2 (08:18):
I wasn't. So people asking that all the time.
Speaker 3 (08:21):
Yeah, I cannot because I have a musical background. I
cannot focus on something if there's music happening. So I
have to write in silence. I'm just too drawn to
to drawn to it, you know, like, if there's a
piece of music playing in the background, I'm going to
listen to the piece of music. So when I write,
(08:43):
I write in silence, but often, especially in this book,
when I was writing about music, I would kind of
inhabit the feeling that I feel with certain pieces of music.
You know how when you listen to you know, just
your favorite song or the song that you play when
you're driving down the road with all the windows open,
(09:05):
right on the first day of summer, Like those feelings
that you feel are Trying to capture those in words
is really hard, but also really exhilarating when you can
get there, or at least close.
Speaker 1 (09:17):
I'm glad you said that, because so many people don't
understand that in a very quiet room, the nature of
what we have outside our homes, in our writing spaces.
There's harmonics out there that we pick up on as humans.
We just haven't been taught to listen to them, but
they're there, Oh for sure.
Speaker 3 (09:33):
Yeah, I mean I feel like that's what creativity is,
being receptive to the voices inside you and around you.
Speaker 1 (09:41):
Wow. One of the things that you put inside this
book is the fact that you deal with with the
surprises of being a creative person with the classical music
and stuff, and that everybody thinks that they want to
be successful instantly right now, they don't realize that they
have to face a journey and a path.
Speaker 3 (09:58):
Yes, yes, and everybody he does in their own way.
And it's that path that is as you said, it's
that is what makes you. You don't just arrive somewhere
and having had success. I mean, for instance, for me
as a writer. You know, this is my debut novel.
That I wrote a whole book before this that never
(10:19):
got published, and that was very difficult to accept and
let go of that book and start a new one.
But that was part of my path to get here, right,
I had to learn, I had to get better. I
had to accept all those you know, all that feedback
and internalize it and take what was right and leave
(10:40):
behind what wasn't in order to be successful.
Speaker 1 (10:44):
Do you think that maybe it wasn't its time. And
the reason why I bring that up is because I
wrote a book in the eleventh grade because the teachers
wanted me to stay in school, and so thirty two
years after I wrote that book that it was finally published.
Speaker 2 (10:56):
Oh wow, really, yeah, that's amazing.
Speaker 1 (10:59):
Maybe your book Bok is going to be published. It's
maybe it's just not time yet.
Speaker 3 (11:03):
You know what, I don't think it will be, because
when I look back at it, I really feel that
that book I feel in similar ways toward it that
I feel toward like a first love. Okay, it taught
me so many lessons, but also it wasn't the right.
It wasn't right, you know, it wasn't right for me,
(11:23):
and I'm happy now to leave it behind and to
just move forward.
Speaker 1 (11:29):
Okay, So as a writer and somebody who's connected to
classical music now, only because my last two books came
with music. I wrote music while writing the book. Did
you do you want to write music or anything like that?
Because I mean, when you've got a book that's out
of the fire Concerto, I mean, come on, that deserves
a soundtrack.
Speaker 2 (11:46):
I wish I could write music.
Speaker 3 (11:49):
No, I have no plans to write music, but I
would love it if someone else would.
Speaker 2 (11:53):
So if you have any ideas.
Speaker 1 (11:56):
I'll get at touch with John Williams real quickly. I
think he's got something.
Speaker 3 (12:00):
I did make a I made a playlist for the
book that's on Spotify that just has, you know, music
that's inspired me, the type of music from this time
period that I really enjoy. But the piece itself, the
Fire Concerto, it has yet to be written except you know,
(12:20):
in the fictional world of this book.
Speaker 1 (12:22):
Wow, where can people go to find out more about you?
Because you said this is your first one, it's not
your last one, trust me.
Speaker 2 (12:30):
Right, it is definitely not my last.
Speaker 3 (12:32):
So you can visit my website, which is Sarah landonwich
dot com and also I'm on Instagram and you know
the web at large.
Speaker 1 (12:43):
I love it. Please come back to the show anytime
in the future. The door is always going to be
open for you.
Speaker 2 (12:47):
Sarah, Thank you, Erin. It was really nice to talk
to you.
Speaker 1 (12:49):
Will you be brilliant?
Speaker 2 (12:51):
Okay, same
Hi, Sarah, how are you doing.
Speaker 2 (00:01):
I'm great, how are you?
Speaker 1 (00:02):
Absolutely fantastic and very excited to share a conversation with
you because I want to know how this story came
into being, because there's just so much involved in it
that it's like I always like to ask, how did
you feel this before it arrived inside our eyes?
Speaker 3 (00:16):
There's an idea in classical music with what's called your
pedagogical lineage, also known as musical ancestry. The idea behind
this is that you, as a musician, can trace back
your teaching history many generations, often to someone great or remarkable,
like a composer or a great performer, and for sports fans,
(00:37):
this is similar to a coaching tree. The idea is
that through those generations of teachers or coaches, some expertise
or style of teaching is passed down to you. So
I decided to organize a novel based on the teaching
history of three women, one in the nineteenth century, one
(00:57):
in the early twentieth century, and one in modern times,
who are connected by this teaching history that began for
them with a great composer in the nineteenth century and
his pupil, a brilliant female musician who murdered him.
Speaker 1 (01:14):
I love this because in martial arts they train this
the same exact way. You cannot earn that first black
belt unless you know the history of your grandmaster and
the grand master before him. And because you're right, whatever
move you're doing today was probably done one hundred years
ago or.
Speaker 2 (01:29):
More right, it's all kind of connected.
Speaker 3 (01:33):
And sometimes I like to say that I don't necessarily
think genius can be passed down, but what I do
think can be passed down is the traumas that are
inflicted upon us from one generation to the next. And
some relationships between teacher and pupil are very volatile, toxic ones.
(01:57):
And I mean, obviously some are fantastic rewarding ones too,
But for the purposes of this novel, that originating relationship
between the composer and the woman who killed him has
reverberations that go across history one hundreds of years.
Speaker 1 (02:14):
My wife is really into this book, and she says
one thing that she loves most is that it's the
searching of origins that really has her retention because to me,
this is what she said, It's like true crime, but
it's not a crime. You're just looking for the origins.
Speaker 2 (02:30):
Right, Yeah, how do we all?
Speaker 3 (02:32):
You know, we all go back so many, so many
years and generations even before we were born, in ways
we don't always understand, right, Like the way that we
were parented is influenced by the way our parents were parented,
and that kind of thing. And going back to the
source helps us understand who.
Speaker 2 (02:52):
We are and why.
Speaker 3 (02:53):
We behave the way that we do, so that we
can then free ourselves from that right and not have
to play out those patterns again.
Speaker 1 (03:02):
So how did you play this book out as the writer?
Because you've got three different women experiencing history. Did you
do them one at a time or did you did
you chronologically go into this and make it happen?
Speaker 2 (03:14):
No, I did not do them one at a time.
Speaker 3 (03:15):
Initially, I was thinking I was going to do a
braided narrative where you know, you have each chapter alternates
per women, you know, like one, two, three, and then
start over.
Speaker 2 (03:27):
But I quickly saw that writing a book like that.
Speaker 3 (03:30):
With this story would make a book that was like
six hundred pages lot yep, which is unpublishable.
Speaker 2 (03:36):
So I had to shrink it down.
Speaker 3 (03:38):
And so in order to do that, I was looking
around for a structure that I could kind of lay
it on top of and then ultimately I decided on
this idea of the person in the present in the
nineteen ninety seven storyline is investigating the past through these
kind of uncovered or unearthed X journals, letters, that.
Speaker 2 (04:02):
Kind of thing.
Speaker 1 (04:03):
Please do not move. There's more with Sarah Lendonwitch coming
up next. The name of the book the Fire Concerto
from Sarah Landon Witch, We're back. You did not make
me feel old going back to nineteen ninety seven. And
the reason, I mean, because so many times you're listening
to a song on the radio and they say, oh,
let's come forty years ago, and you feel old instantly,
but you taking us back, you put us in a
(04:26):
moment of Okay, this is this is this is it?
Speaker 3 (04:29):
Yeah, I mean, I mean part of that is because
I also don't want to feel.
Speaker 2 (04:33):
All in ninety ninety seven.
Speaker 3 (04:37):
I was a teenager in the late nineties and I
really loved that time. And obviously we all kind of
romanticize our youth. You know, the time of our youth,
but you have the music of that time, and you
know there's a certain tendency I think for all of
us now to look back on a time before cell
phones and be like, how did we do that?
Speaker 2 (04:58):
You know, what was life?
Speaker 3 (05:00):
And I really like thinking of that that moment in
time where it's modern but without all of these devices
that now dominate our lives.
Speaker 1 (05:13):
Wow, it's almost like you're giving us a ticket to ride,
because once you step into this story, it's it's one
of those where it's like, Okay, I'll read one more
page and then I'm going to go to bed, and
all of a sudden, you've read ten more pages.
Speaker 2 (05:24):
Well that's the best compliment you can give me, so
thank you.
Speaker 1 (05:28):
But to reach that you had to experience it first.
I mean you you had to. I mean I mean
the tension, the things that go on inside this book
and the rivalries, and that that's the thing that we
feel on this side as readers.
Speaker 3 (05:41):
Yeah, rivalry is a is a very important part of
this book, and I think that everybody probably has that
experience of remembering what it's like, especially when you're young,
to have that person that you're always measuring up against.
And in some fields and particular ones that are extremely competitive,
(06:02):
such as classical music, those rivalries are very strong and
they draw us out in some of our best ways, right,
in achieving greatness, but also in some of our worst,
in our behavior and in jealousy and.
Speaker 2 (06:20):
You know, feeling not good enough.
Speaker 3 (06:22):
So I feel like in a rivalry, we really get
to see a person at some of their most vulnerable
moments and also at some of their best.
Speaker 1 (06:31):
Yeah, would you bring them together? Which I found very
inspiring because so many times rivalries create you know, distance,
and they create valley floors.
Speaker 2 (06:40):
That's true.
Speaker 3 (06:41):
But I feel like if you as a person, can
start to see someone not as someone that is your competitor,
but as someone who can bring you up, like level
you up and learn from, then that relationship.
Speaker 2 (06:59):
Can be a really beautiful one.
Speaker 3 (07:01):
Right if you if you leave a side that jealousy
and instead accept it as this gift.
Speaker 1 (07:11):
You're gonna think I'm a freak here. Usually when there's
a rivalry, what I do is I always tell people
I'm gonna go kill them with kindness. I'm gonna go
be I'm gonna be so nice to them that they're not.
There's just just And even though I may have that
dark side, I'm still you know, it's putting positive ahead
of all decisions.
Speaker 3 (07:27):
Yeah, and then do you find I mean do you
find that then you start to like that person?
Speaker 1 (07:31):
I do.
Speaker 2 (07:32):
Yeah, right, yeah, I feel like that i'ms all of us. Right.
Speaker 3 (07:34):
You meet somebody and you initially are dealing with your
you know, your lowestel, who is jealous or whatever, and
then when you get to know them, they become someone
that you admire or you would like to be friends.
Speaker 1 (07:47):
Yeah, because I always tell people, I'll go up to
them and say, look, don't think of it as being
this is your journey, it's our journey. It's all of
us together here. You need a team player, it's all
about me. Well, no, it's not about you, dude, wake up.
Speaker 2 (07:59):
Yeah, I love that now. I think that's true.
Speaker 3 (08:01):
I mean, we none of us get anywhere without all
of the experiences that have gone before.
Speaker 1 (08:07):
So let me ask you this question only because I'm
a writer as well. And here's the thing there, there
is a feeling of music inside your storyline. Were you
listening to music while you were putting this together?
Speaker 2 (08:18):
I wasn't. So people asking that all the time.
Speaker 3 (08:21):
Yeah, I cannot because I have a musical background. I
cannot focus on something if there's music happening. So I
have to write in silence. I'm just too drawn to
to drawn to it, you know, like, if there's a
piece of music playing in the background, I'm going to
listen to the piece of music. So when I write,
(08:43):
I write in silence, but often, especially in this book,
when I was writing about music, I would kind of
inhabit the feeling that I feel with certain pieces of music.
You know how when you listen to you know, just
your favorite song or the song that you play when
you're driving down the road with all the windows open,
(09:05):
right on the first day of summer, Like those feelings
that you feel are Trying to capture those in words
is really hard, but also really exhilarating when you can
get there, or at least close.
Speaker 1 (09:17):
I'm glad you said that, because so many people don't
understand that in a very quiet room, the nature of
what we have outside our homes, in our writing spaces.
There's harmonics out there that we pick up on as humans.
We just haven't been taught to listen to them, but
they're there, Oh for sure.
Speaker 3 (09:33):
Yeah, I mean I feel like that's what creativity is,
being receptive to the voices inside you and around you.
Speaker 1 (09:41):
Wow. One of the things that you put inside this
book is the fact that you deal with with the
surprises of being a creative person with the classical music
and stuff, and that everybody thinks that they want to
be successful instantly right now, they don't realize that they
have to face a journey and a path.
Speaker 3 (09:58):
Yes, yes, and everybody he does in their own way.
And it's that path that is as you said, it's
that is what makes you. You don't just arrive somewhere
and having had success. I mean, for instance, for me
as a writer. You know, this is my debut novel.
That I wrote a whole book before this that never
(10:19):
got published, and that was very difficult to accept and
let go of that book and start a new one.
But that was part of my path to get here, right,
I had to learn, I had to get better. I
had to accept all those you know, all that feedback
and internalize it and take what was right and leave
(10:40):
behind what wasn't in order to be successful.
Speaker 1 (10:44):
Do you think that maybe it wasn't its time. And
the reason why I bring that up is because I
wrote a book in the eleventh grade because the teachers
wanted me to stay in school, and so thirty two
years after I wrote that book that it was finally published.
Speaker 2 (10:56):
Oh wow, really, yeah, that's amazing.
Speaker 1 (10:59):
Maybe your book Bok is going to be published. It's
maybe it's just not time yet.
Speaker 3 (11:03):
You know what, I don't think it will be, because
when I look back at it, I really feel that
that book I feel in similar ways toward it that
I feel toward like a first love. Okay, it taught
me so many lessons, but also it wasn't the right.
It wasn't right, you know, it wasn't right for me,
(11:23):
and I'm happy now to leave it behind and to
just move forward.
Speaker 1 (11:29):
Okay, So as a writer and somebody who's connected to
classical music now, only because my last two books came
with music. I wrote music while writing the book. Did
you do you want to write music or anything like that?
Because I mean, when you've got a book that's out
of the fire Concerto, I mean, come on, that deserves
a soundtrack.
Speaker 2 (11:46):
I wish I could write music.
Speaker 3 (11:49):
No, I have no plans to write music, but I
would love it if someone else would.
Speaker 2 (11:53):
So if you have any ideas.
Speaker 1 (11:56):
I'll get at touch with John Williams real quickly. I
think he's got something.
Speaker 3 (12:00):
I did make a I made a playlist for the
book that's on Spotify that just has, you know, music
that's inspired me, the type of music from this time
period that I really enjoy. But the piece itself, the
Fire Concerto, it has yet to be written except you know,
(12:20):
in the fictional world of this book.
Speaker 1 (12:22):
Wow, where can people go to find out more about you?
Because you said this is your first one, it's not
your last one, trust me.
Speaker 2 (12:30):
Right, it is definitely not my last.
Speaker 3 (12:32):
So you can visit my website, which is Sarah landonwich
dot com and also I'm on Instagram and you know
the web at large.
Speaker 1 (12:43):
I love it. Please come back to the show anytime
in the future. The door is always going to be
open for you.
Speaker 2 (12:47):
Sarah, Thank you, Erin. It was really nice to talk
to you.
Speaker 1 (12:49):
Will you be brilliant?
Speaker 2 (12:51):
Okay, same
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