The shift from poetry to song writing was a necessary one for Brady Earnhart. He describes poetry as "too solitary a business," in which one writes alone, sends the piece off to a literary magazine, and then eventually receives a simple rejection or acceptance on a slip of paper. Instead, he craves "to do something with language that actually involved being in a room full of people." Rather than waiting weeks for a rejection with little-to-no feedback, he can "see the looks on faces when something sank in, and get a social and sensual feeling of contact." This response is much more immediate and personal than the short conversation carried out on paper between an author and magazine editor. And not only is he involving an audience, he is also incorporating his body when he is singing and breathing his work. Earnhart names musicians such as Joni Mitchell, Mike Drake, Elliott Smith, and John Martyn, and jazz artists Bill Evans and Keith Jarrett as his top influences. Poets Jack Gilbert, Elizabeth Bishop, and Cynthia Sok also influence him. He pays attention to "the rhythm of things" and is affected by "really good olive oil," both of which carry through to his music. For young writers, Earnhart strongly encourages reading. He claims that there are "too many writers right now who write without doing much reading," and "the way we learn anything is by setting ourselves up as being apprentices." He advises reading "not just the crowd-pleasers, but the really good stuff." Along the same vein for song writers, he recommends learning the songs of previous musicians. "Play with friends on a Friday night, and go to open-mic nights," he suggests. Visit his web site to find out more about Brady Earnhart.