Two students win 2025’s Community Impact Awards

Sophie Hillstrom (left) with Dean Allana Lindgren and Sage Easton-Levy

Congratulations go out to the recipients of our fifth annual Faculty of Fine Arts Student Community Impact Awards: just-graduated School of Music student Sophie Hillstrom and current Theatre student Sage Easton-Levy — each of whom receives $1,000 for their work with local community organizations.

Each was chosen from a field of applicants and selected by a juried committee based on their nomination packages. The awards were presented live as part of the annual Greater Victoria Regional Arts Awards gala on November 26. “The recipients of these awards are definitely talents to watch,” says Fine Arts Dean Allana Lindgren. “Over the past five years, it’s been exciting for us to see previous winners further their creative achievements locally, with some continuing their artistic development as graduate students farther afield.”

“Winning one of the Student Impact Awards is a great honor,” says Sophie. “I always enjoyed being an active member of the arts community in Victoria and never expected to be recognized for it . . . I’m incredibly grateful to all who have contributed and made it possible for me to win this award. It is truly incredible.”

“I’m incredibly appreciative and excited by this opportunity,” Sage says. “This award is not only financially helpful as a student but speaks to the recognition that art and theatre are important and beneficial to communities as a whole.”

Alumni winners at the 2025 GVRAAs included Kathleen Greenfield and Ingrid Hansen for their work with SNAFU Dance Theatre, and Tiffany Tjosvold for her work with Embrace Arts

Essential additions to the community

A second-year theatre student at UVic with the goal of obtaining her MFA, Sage Easton-Levy earned her prize for her work as director of the Sooke Youth Theatre Company — specifically for their 2024 production of Disney’s Newsies Jr., but her involvement with the company goes back to 2019. As artistic director, choreographer and costume designer — or often all three — Sage has been described as both “the backbone and the fire” behind 13 different productions.

As board member Melanie Nelson points out I the nomination package, “Sage’s impact has been nothing short of extraordinary. Since joining the company, her growth as a director has been evident in the increasing quality of our productions — not only to myself as both a board member and a parent of a participating child, but also to the wider audience and our cast members themselves. Sage has a rare ability to identify and showcase each child’s unique strengths. Her productions shine not only because of her talent but also because she fosters an environment where young performers can thrive and feel valued. It is truly special to witness Sage’s work.”

Music’s Sophie Hillstrom is recognized not only for her work as the Student Director with the Early Music Society of the Islands during their recent 40th anniversary season but also for her enthusiastic “I can do anything I put my mind to” attitude. As EMSI’s Student Director, Sophie participated in board meetings, volunteered at concerts, drove performers to hotels, connected with audiences and donors, helped plan media engagement strategies, and organized outreach to other UVic students and professors.

As Society president Joanne Whitehead notes, “Sophie has demonstrated a keen interest in engaging her fellow students — and the community at large — in the wonderful sounds of early music. As an active participant in all aspects of the Society’s workings, Sophie is developing a strong sense of the importance of the social context required to support a thriving arts scene, alongside her growth as a performer of baroque music. I am confident that she will become a strong positive contributor not just to the early music world, but also to the broader music and arts ecosystem.”

About Sage Easton-Levy

Sage is a second-year theatre student at UVic with the goal of obtaining her MFA in directing. She recently moved to Victoria from Sooke, which she’s called home for over 10 years. Sage has been a director and choreographer for the Sooke Youth Theatre Company since 2018, enabling her to follow her passion of working with children in performance.

In addition to her work with SYTC, Sage also volunteers with the Sooke Harbour Players as secretary of the board, as well having recently directed her first adult-cast show, Frankenstein, with the group; she was also recently onstage for the second time with VOS at the McPherson Playhouse in their production of Legally Blonde.

Sage is profoundly grateful to be honoured for her staged production of Newsies with this award and the ability to encourage and uplift youth performers and curate a positive experience showcasing theatre in her town.

“Connecting and networking in the greater arts community is so important,” she says. “There are plenty of opportunities off-campus and, in a city like Victoria, there is a lot of crossover in these fields. I’ve made some wonderful friendships and memories being involved in many groups by performing, volunteering and reaching out.”

Immediate future plans for her include directing and choreographing SYTC’s production of Grease: School Edition in January 2026, before mounting Singin’ in the Rain in June. “I would also love to get back onstage, as I am equally enthusiastic about acting,” she says. “I’m very excited for the prospects ahead!”

About Sophie Hillstrom

Before moving to Victoria to attend UVic, Sophie grew up in nearby Seattle and graduated in June 2025 with a Bachelor of Music in Musical Arts. Currently, she is continuing her involvement in the Victoria music community, teaching, performing and volunteering. She continues to serve on the board for the Early Music Society of the Islands, ushering at concerts, sharing her wisdom, putting up posters and doing anything she can to help cultivate a community of early music lovers in Greater Victoria.

“As a student, it’s quite easy to get swept up in everything happening on campus and forget there is a world outside of UVic that is also interesting, informative and fun,” says Sophie. “But one of the greatest benefits for students being involved in an off-campus community is simply getting to interact with a wider net of people — especially for a niche interest like early music . . . I’ve been meeting hundreds of people who all have unique perspectives and a love of early music, which is incredibly special.”

Future plans include continuing to serve on the board of EMSI and teaching strings with Harmony Project Sooke. She also teaches private students, and is freelancing as a performing violist. “I intend on continuing my education in either a performance certificate program or a Master’s of Music in Viola Performance,” she says. “All I really hope for my future is that it is full of inspiration, love, and my ‘I can do anything I put my mind to’ attitude!”

About the awards

Fine Arts has been the city’s artistic incubator for well over 50 years, helping to produce creative and scholarly talents across the cultural spectrum. Our campus community continues to contribute to the arts locally, nationally and internationally — with many of our students, alumni and teaching faculty now working in forms and mediums undreamt of when we were established in 1969. Thanks to the generosity of our donors, our Community Impact Awards put the spotlight on current students who are reaching beyond their full-time studies.

Since 2021, we’ve awarded over $15,000 to 13 students from across Fine Arts for projects ranging from murals, theatre productions, music performances, art shows, curatorial projects and more, all within the regional boundaries of Greater Victoria (Sidney to Sooke).

As the name implies, the Community Impact Awards highlight the efforts of undergraduate Fine Arts students who have demonstrated an outstanding effort by engaging with Victoria’s wider creative community over and above their course work.

Read about our previous winners here: 2024202320222021.

Nominations for next year’s Community Impact Awards will be live in early 2026. Stay tuned to the Fine Arts Instagram account for the announcement.

Robert Amos receives Honorary DFA

An artist, art historian, author and arts writer, Robert Amos has dedicated most of the past four decades to documenting — both journalistically and visually — Victoria’s visual arts scene, whether with the Art Gallery of Greater Victoria, the Times Colonist newspaper or in his own many books. But he has also spent over 15 years working with the Artist Archives in UVic’s Special Collections, making him an ideal choice to receive an Honorary Doctor of Fine Arts during the Fall Convocation ceremony. As Dr. Cedric Littlewood, Associate Dean of Graduate Studies, noted in his introduction, “By bringing people, buildings and neighbourhoods to life, Robert’s contributions to BC’s art history is the very fabric of Victoria’s history.”

“Art history isn’t all about the distant past: in fact, art history is all around us. If we reflect on and understand the times we live in, we may come to understand ourselves a bit better,” said  Amos during his 10-minute talk. “I’m passionate about sharing stories with students, art lovers and the general public and while the internet provides instantaneous global reach to any information we may want to look up, unless we who live and work here create and tell our own local stories, and find a way to preserve and safeguard those for the future, there won’t be anything there for anyone to look up and access.”

Amos noted how UVic students are surrounded by art, mentioning the Salish banners, sculptural panels, ceremonial furniture and pieces from the University Art Collection displayed across campus. “Art really is part of our life here on campus and it’s more than just decoration,” he said. “Art is a form of communication . . . and if you find a way to communicate the reality of your own time and place, history will be interested in what you have to say.”

Watch Robert’s convocation address here

Writing professor wins Bill Good Award

Congratulations go out to UVic Writing professor Sean Holman on winning the Bill Good Award at the 2025 Webster Awards on Nov 3!

The Bill Good Award is presented to a BC individual or organization that makes a significant contribution to journalism in the province, or addresses a community’s needs & benefits via journalism — and, as the Wayne Crooks Professor in Environmental & Climate Journalism and founder of the Climate Disaster Project, Holman certainly qualifies on many fronts.

An award-winning investigative journalist before joining UVic’s teaching faculty (and also a UVic Alumni as well), Holman’s words to the awards audience were appropriately insightful.

“We are becoming a fact-resistant society, where experience is more important than the evidence, where what we believe is more important than what is real — and that means it’s a troubling time to be a journalist,” he said.

“We are activists for the truth at a time when the truth is hard to find, and even harder to tell. I’m so honoured to be part of that community.”

Holman keeps fighting the good fight as he trains the next generation of journalists in the Climate Disaster Project, teaching his students to use a trauma-informed approach and building a model of cooperation that can be replicated in newsrooms as they shrink.

Read the full award citation here

Call for grad student proposals: 2026 ONC ArtScience Fellowship Program

UVic’s Faculty of Fine Arts and Ocean Networks Canada (ONC) are now calling for graduate student applications for the paid 2026 ONC ArtScience Fellowship program. The application period closes on December 23, 2025.

The ArtScience Fellowship strengthens connections between art and science that broaden and cross-fertilize perspectives and critical discourse on today’s major issues, such as environment, technology, oceans, cultural and biodiversity, and healthy communities.

This program is open to all current Fine Arts graduate students who have completed most of their course requirements with practice in any visual, written, musical or performance media, or art historical research. Co-led and sponsored by Fine Arts and ONC, the Artist-in-Residence program receives additional financial support from UVic’s Faculty of Science.

Our most recent ArtScience Fellow was Visual Arts graduate student Parvin Hasani. As the sixth Fine Arts graduate student to hold this position, she proposed exploring the extreme ecosystems of deep-sea hydrothermal vents via her sculptural practice. The result was the September 2025 exhibit and artist’s talk, Tides of Memory

 

“Scientific data gave me the language of [vent] formation and collapse, but art practice allowed me to interpret the knowledge,” she explains in this video about her fellowship activities.

Learn more about previous ONC artistic residents, Megan Harton (Music, 2024), Neil Griffin (Writing, 2023), Colin Malloy (School of Music, 2022), Dennis Gupa (Theatre, 2021) and Colton Hash (Visual Arts, 2019).

About the ArtScience Fellowship

The ArtScience Fellowship (previously known as the ONC Artist-in-Residence program) will ignite cross-disciplinary exchanges, interacting with Fine Arts faculty members and scientists & staff at ONC, as well as with other individuals using ONC’s world-leading ocean facilities. This program is inspired by the ArtScience Manifesto of 2011, and numerous references to this concept in the literature. The Fellow will learn from and engage with the current research, connecting it to their own practice, and to wider societal and cultural aspects, creating work for public presentation at the end of the residency. The Artist will also be invited to contribute as a lead or co-author in scientific conference proceedings and/or journal articles.

 
The selected Artist will actively engage with researchers on a variety of ocean science themes that may include:
  • Deep Sea Ecology
  • Seabed-Ocean Exchanges
  • Coastal Ocean Processes
  • Marine Natural Hazards
  • The Ocean Soundscape
  • Arctic Ocean Observing
  • Ocean Big Data.
 
The ONC Artist-in-Residence program is established to:
  • explore the potential of the arts or alternative cultural practices in the area of the visions, challenges, philosophical, aesthetic, and ethical aspects of the ocean and the impacts humans have on it;
  • add a complementary artistic and creative perspective to ocean science, the societal ramifications of its exploitation, and its cultural aspects;
  • create opportunities for potential new research questions, experimental approaches and knowledge synthesis resulting from interaction between the arts and science; and
  • help envision and communicate the potential long-term impact of ocean changes on humanity.

Proposal Submission

Interested applicants are to email ONC’s Dwight Owens at dwowens@oceannetworks.ca with the subject line “Ocean ArtScience Fellowship,” and attach:
  1. the artist’s CV
  2. a concise portfolio of previous relevant artistic work;
  3. a letter of motivation explaining your interest in the program and its alignment with your past experiences and future career goals; and
  4. a 500-word project proposal with a separate project-costs budget.
The application period closes on December 23, 2025. Applications will be reviewed by representatives of Fine Arts and Ocean Networks Canada. Artists may be contacted for an interview or to supply further information before a decision is made.

Public Event or Exhibit

At the conclusion of the fellowship, the Fellow will host a public event and/or exhibit within a specified budget agreed to during the fellowship and depending on the type of project. Assistance for marketing and/or ticketing could be made available from other UVic departments (Visual Arts, Theatre, etc.) 
Financial Provision for the Artist
The residency period will be May 1-August 31, 2026. A cost-of-living stipend of $3,500/month will be paid to the selected Fellow, with limited additional funds to support production or materials. At the conclusion of the residency, the Fellow will plan and deliver a public exhibit and/or event sharing the fruits of the fellowship. This event will be promoted by ONC and Fine Arts.

Parvin giving her ONC talk

 

About Ocean Networks Canada

Established in 2007 as a strategic initiative of the University of Victoria, ONC operates world-leading ocean observatories for the advancement of science and the benefit of Canada. The observatories collect data on physical, chemical, biological, and geological aspects of the ocean over long time periods, supporting research on complex Earth processes in ways not previously possible. The observatories provide unique scientific and technical capabilities that permit researchers to operate instruments remotely and receive data at their home laboratories anywhere on the globe, in real time. The facilities extend and complement other research platforms and programs, whether currently operating or planned for future deployment.
 
The ArtScience Fellowship was initiated by ONC’s late Chief Scientist Kim Juniper, whose leadership and transdisciplinary approaches continue to inspire many in the ArtScience space.
 

About the Faculty of Fine Arts

With experiential learning at its core, the Faculty of Fine Arts provides the finest training and learning environment for artists, professionals, and students. Through its departments of Art History and Visual Studies, Theatre, Visual Arts, Writing and School of Music, the Faculty of Fine Arts aspires to lead in arts-based research and creative activity and education in local, national, and global contexts by integrating and advancing creation and scholarship in the arts in a dynamic learning environment. As British Columbia’s only Faculty exclusively dedicated to the arts, UVic’s Faculty of Fine Arts is an extraordinary platform that supports new discoveries, interdisciplinary and diverse contributions to creativity, and the cultural experiences of the students and communities UVic serves.
With thanks also to the Faculty of Science for their support.

Meet Music’s 2025 Concerto Competition student winners

This year’s UVic Concerto Competition celebrates exceptional musicians whose talents span genres, generations, and geographies. The competition finals were held in April 2025 and we can’t wait to hear them perform their winning concertos with the UVic Symphony Orchestra and UVic Wind Symphony in our 2025-26 concert season. Congratulations go out to School of Music students Tamsyn Klazek-Schryer, Olivia Pryce-Digby and Ethan Page!

Tamsyn Klazek-Schryer

Violinist Tamsyn Klazek-Schryer is a vibrant and versatile artist whose musical life bridges classical performance, traditional fiddle, jazz vocals, and even silver jewelry design. Currently completing her degree in violin performance under the guidance of Ann Elliott-Goldschmid, Tamsyn brings her creative spirit to every note.

Before coming to UVic, Tamsyn studied at McGill University’s Schulich School of Music and has received numerous accolades, including awards from the GVYO, Musicians Performance Trust Fund, and Early Music Vancouver. She’s participated in prestigious programs such as PRISMA, Quartet Fest West, and Victoria Baroque, and was invited to the 2024 Canadian Grand Masters Fiddle Competition in Whitehorse.

A Playful Mozart with Serious Demands

Tamsyn won the competition with Mozart’s Violin Concerto No. 2 in D Major which she will perform with the UVic Symphony Orchestra on November 1. “I love the playfulness in Mozart’s writing,” says Tamsyn. “He was only 19 when he wrote this concerto, and you can hear his youthful spirit in every phrase. It’s a very joyful experience to perform.” 

Despite its cheerful nature, the piece demands incredible finesse. “The precision required to play any Mozart concerto is always a challenging ambition. It took a lot of careful study to bring it to life. There were no answers in the ink. With the guidance of my instructor, I had to figure out how to bring meaning to the music,” she says. “I composed all my own cadenzas for the performance, which pushed my creativity even further.”

Blending Traditions, Finding Her Own Voice

At UVic, Tamsyn has found a space that nurtures artistic freedom and cross-disciplinary exploration. “I used to think classical music was about finding one ‘correct’ sound. UVic has shown me that our unique voice on our instrument is just as important. There’s deep value in blending tradition with self-expression.”

Beyond classical music, Tamsyn performs with Celtic group Aràen and folk group The Four Folks, and shares her handmade jewelry through Juliet Creatives.

On her playlist: Djaliya by Ablaye Cissoko, Hideous Towns by The Sundays, Finn’s Rescue by The Foreign Landers.

Watch her perform here or follow her creative worlds on Instagram: 
@araen.theband, 
@thefourfolks
, @julietcreatives

Olivia Pryce-Digby

Whether singing in cathedrals, Off-Broadway productions, or multidisciplinary operatic showcases, soprano Olivia Pryce-Digby is a storyteller at heart. A fourth-year voice student studying with Benjamin Butterfield, Olivia brings a deep emotional sensibility to her performances, grounded in both classical training and creative curiosity.

Olivia has worked with some of Canada’s top vocal ensembles, including the Toronto Mendelssohn Choir, Vox Humana, and That Choir, and serves as a choral scholar at Christ Church Cathedral in Victoria. Her theatrical experience includes featured roles in The Little Mermaid and Fearless, as well as a collaboration with South African dancer Gregory Maqoma in Broken Chord. Olivia also recently created March Madness, a bold, multidisciplinary work reclaiming the narrative of the “hysterical woman” through operatic performance.

Finding Depth in Barber’s Knoxville

Olivia will be performing Knoxville: Summer of 1915 by Samuel Barber with the UVic Symphony Orchestra on November 28.
“I still remember the first time I heard this piece — it was enchanting and emotional from start to finish,” Olivia says of Barber’s Knoxville. “The poem is a love letter to family, to home, to the magic of the everyday. It may simultaneously break your heart and heal something deep within.”

With its lyrical complexity and emotional nuance, the work is both technically demanding and richly expressive. “My biggest challenge has been managing my breath efficiently while maintaining the effortless storytelling quality that the piece demands,” she says. “Working in small sections and using breathing exercises has been my strategy.”

Olivia came to UVic after encouragement from Professor Butterfield and says her time here has reshaped her understanding of music. “I thought I knew a lot before, but I was just scratching the surface. UVic has fostered a deep curiosity and a love of detail that will stay with me forever.”

As she prepares to graduate, Olivia is aiming for graduate studies and a future in opera and oratorio, with a growing interest in teaching and mentorship.

On her playlist: Everything from medieval troubadour dances to Curtis Mayfield, Stevie Wonder — and she was one of the top 0.01% Mozart listeners in 2024!

Follow her journey on Instagram: @livprycedig

Ethan Page

Percussionist Ethan Page is in his fifth year of Music Performance at UVic, where he is a 4-year Entrance Scholarship recipient and a leader across ensembles. As section leader in both the Wind Symphony and Symphony Orchestra, Ethan plays an impressive range of instruments — from timpani and snare drum to vibraphone and marimba (his personal favourite). He has performed widely in Victoria’s music community with the Canadian College of Performing Arts, Ensemble Laude, the Victoria Conservatory of Music, and the Greater Victoria Youth Orchestra.

A Rare and Radiant Marimba Voice

Ethan chose Séjourné’s Concerto for Marimba and Strings for its rare combination of neo-romantic lyricism and virtuosic brilliance. He will perform the piece with the UVic Wind Symphony on March 27.
“There aren’t many pieces like this in the marimba repertoire. I love how dynamic and colourful it is — from the melancholic and cathartic first movement to the energetic, lively second movement,” describes Ethan.

Though captivating, the concerto comes with technical hurdles. “The eleven-tuplet runs were especially tricky,” Ethan explains. “I spent many hours practicing slowly with a metronome and I’ve gotten to the point where I’m fairly comfortable with those sections now.”

Studying at UVic has been transformative for Ethan, expanding his percussive horizons beyond drum kit to mallet instruments and chamber repertoire. “Seeing my professor and peers play marimba with four mallets inspired me immediately. With my instructor,  Aaron Mattock’s guidance, I’ve developed a work ethic and technique I never thought possible.”

Looking ahead, Ethan plans to continue performing and collaborating in Victoria while also pursuing a second degree in Computer Science.

All 3 concerts will take place in the Farqhar at UVic. Tickets are available through the UVic Ticket Centre and at the door. UVic students with a valid ONECard can attend for free, and special ticket pricing is available for school groups.

Deb Miller Landau makes a name with her crime story

Every journalist is always on the lookout for their next great story. For Vancouver-born Deb Miller Landau, a magazine article on a cold case in the American South became the assignment of a lifetime, leading Landau to write an entire book on the explosive, racially-charged case — and even become a sought-after expert on the case.

As a professional writer, Miller Landau, BFA 1996, has had a remarkable career: working as a news reporter and copywriter, writing travel guides and magazine features, creating corporate content and eventually teaching journalism. But it was her 5,000-word, 2004 magazine article “Social Disgraces” about the 1987 murder of American Black socialite Lita McClinton that put her in the public eye. It catapulted her into the spotlight when it was anthologized in Harper Perennial’s Best American Crime Writing and then became the basis for her 2024 book, A Devil Went Down to Georgia: Race, Power, Privilege, and the Murder of Lita McClinton (Pegasus Books).

Finding an authentic voice

 Now based in Portland, Oregon, Miller Landau grew up in North Vancouver before enrolling in UVic’s Writing department in the early ’90s. Having taken a couple of years off to travel Europe and the Middle East after high school, Miller Landau recalls being an older student who felt “a bit out of place” at UVic. She was also a rower, so was going to poetry readings until 2 a.m.  then getting up at 5 a.m. to go to Elk Lake.  She says she has no regrets.

She was particularly influenced by her classes with non-fiction experts Stephen Hume and Stephen Osbourne were particularly influential. “They were just real writers working in the field and they both pushed doing honest work and finding your voice,” she says. “And, as my career has mostly been in non-fiction, that really resonated with me.”

“It’s hard to develop an honest, authentic voice right out of high school,” she says. “But I knew more about the world and was clear on what I wanted to do. Before I graduated, Hume said I should go to the Northwest Territories and be a big fish in a small pond, but I wanted to take the world by storm and write big stories, so I went to California and instead became the small fish in a big pond,” she chuckles. “I actually just emailed him a couple of months ago to thank him for all of his teachings.”

That pond initially involved splashing into an entry-level position at the Mill Valley Herald newspaper in Marin County, just north of San Francisco . It was a “sink or swim” job where she wrote everything and made little money — but learned a lot. She then moved on to Lonely Planet Publications, where she eventually edited and wrote more than three dozen travel guides. After marrying her husband, the two moved to Atlanta where, after publishing some travel stories with Atlanta magazine, the editor offered her the chance to do an update on a nearly 20-year-old murder case.

A sensational story

 When Lita McClinton was gunned down on her doorstep by a hitman pretending to deliver roses at 8 a.m., it sent shockwaves through the affluent Atlanta suburb where she lived. While the actual hitman remained elusive, it didn’t take investigators long to trace a string of clues back to Lita’s ex-husband Jim Sullivan: a white millionaire originally from working-class Boston. Jim had already taken up with another woman and was in the midst of a potentially expensive divorce from Lita when he decided to pay ex-con Tony Harwood $12,500 to “take care” of her . . . and then didn’t even bother to show up for his late wife’s funeral.

But far from being an open-and-shut case, the murder investigation was hampered by racial bias in the initial court proceedings, a lack of direct evidence and Sullivan’s subsequent escape from the country to Costa Rica and then Thailand. It would take nearly 20 years and an international manhunt before Sullivan was finally arrested and convicted in 2006 of five crimes that “caused or directed another to commit the murder” of Lita McClinton.

Yet while the crime itself occurred back when Reagan, Mulroney and Thatcher were the political leaders of the day, it was the events of the past few years — including Black Lives Matter, the #metoo movement and the pandemic — that helped shaped Miller Landau’s original article into A Devil Went Down to Georgia, the first complete account of the entire case.  The fascinating book was selected to be part of the UVic Alumni book club this year, with Miller Landau even giving an author talk.

New insights on an old case

Miller Landau recalls when she got the original assignment from her Atlanta editor. “They wanted somebody with fresh eyes to do a retrospective on the case because Sullivan had just been caught in Thailand,” she recalls. “So, all my experience to date — travel writing, research skills, finding my voice, managing my time — all got put to the test.”

At the time, Miller Landau had no idea the impact this story would have on her career.  “Then the article was published and got anthologized in Best American Crime Writing and it became one of the biggest stories of my life,” she says. Indeed, she’s since become an on-camera expert for various TV and news outlets, including Dateline, America’s Most Wanted and FBI: Criminal Pursuit, among many others.

During the pandemic, Miller Landau decided to pull out her box of original notes and transform the entire saga into a book. One of the hardest aspects of the project was contacting Lita’s family. “By this point, they’d had to live with the case for almost 40 years . . . I remember Lita’s mom saying to me, ‘Just tell an honest story’ — that felt like a big north star for me,” she says. “In particular, this case teaches us a lot about things that we’re still reckoning with today: domestic violence, race relations, power dynamics between men and women and the inherent injustices of the criminal justice system. But if you don’t have that view of being far away from it all, you can’t see the whole picture.”

Miller Landau says this big-picture approach was essential as she developed A Devil Went Down to Georgia. Despite the 15-year time lapse between her original article and the book, Miller Landau says she never lost interest in the case. “I always kept tabs on what was happening.” she says. “But it never fully got quiet because I would get asked to be on news shows about it, and I’ve kept in touch with a few of the key players, especially when [suspected hit-man] Tony Harwood got out of prison.”

A good time for true-crime

While the case may have been cold, 2024 was a hot time to publish a true-crime book, given the current slew of podcasts, books and TV shows. Yet despite her success — A Devil Went Down to Georgia now claims the coveted number-one spot on the Oprah Daily “best true crime books of all time” list — Miller Landau has some issues with the genre itself.

“Overwhelmingly, women are the victims of violent crime and yet they are also overwhelmingly the consumers of it,” she says. “And women are more drawn to true-crime podcasts and books, but traditionally it’s mostly been covered by male writers: there were 20 writers when I was anthologized in Best American Crime Writing but I was the only woman, and again I’m the only woman among six nominees for the 2025 Edgar Allen Poe Award, which are like the Oscars of mystery/crime writing.”

But she’s hoping that’s a trend that’s changing, given the number of female-fronted podcasts out there. “I think more women are getting into the true-crime content-creation space today because they are more drawn to understanding and empathizing with what happened in the situation,” she says. “That’s made it potentially more fascinating and more accessible to a lot more people.”

Miller Landau bookends A Devil Went Down to Georgia with a tense scene where she comes face-to-face with Tony Harwood, the man who orchestrated the hit on — and quite possibly actually killed — Lita McClinton. “When I finally met him, he was so much less than what I had envisioned him to be: he’s now 74, he’s spent 20 years in prison, he’s got back problems . . .  but that’s the moment I find really fascinating as a journalist: when you finally connect with somebody, everything about them changes and you can’t help but see them as more human.”

Which bring her right back to her days in UVic’s Writing department. “You know, I taught magazine writing at the University of Oregon for a couple semesters and the students were all about emailing or texting for their interviews. But I told them, ‘No, you have to get out there and see people, hear how they talk, discover their mannerisms.’ I mean, it was probably totally irresponsible of me to go meet Tony in person, in a parking lot, by myself — but that’s the juice, that’s the Stephen Hume way: find what you love and go get it.”