Archive for category Undercover Soundtrack
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by former actor and theatre director Paul Adkin @AdkinPaul
Soundtrack by Paco de Luia, Oasis, Mike Flowers Pops, Miles Davis, Schubert, JS Bach, Natalie Imbruglia, David Bowie, Stockhausen, Robert Schumann, Clara Wieck, Brahms, Leonard Cohen, Radiohead
When Sirens Call is replete with musical references, but the real musicality of the novel is in the writing itself. Through my work in theatre, as a writer and director, I very quickly saw the relationship between theatricality and music. In the composition of the novel When Sirens Call, I wanted to create a juxtaposition between its two protagonists and music helped me find it. In musical terms, the plot was a seductive struggle between the classical and the contemporary. Between the traditional and the actual.
Protagonist A is Belinda Babchek. A young Australian traveller, in Madrid, on her way to Greece. It’s summer. To locate the mood of the foreigner in Spain I listened to a lot of flamenco (Paco de Luia Entre Dos Aguas). I live in Madrid and frequent the flamenco bars, but I wasn’t listening to it to imbue Belinda with it. Quite the contrary. Flamenco is an alien concept to the young Australian. She is displaced and floundering before the backdrop of the Spanish guitar. Flamenco isn’t a music that one can lie back and relax with. It’s stirring and passionate, but also a disturbing symphony.
And this is Belinda’s mood in Madrid. She is walking a knife-edge between her own pop-culture of the here-and-now and a yearning for something deeper. Even though she has no idea what that deeper thing could be.
In Madrid she befriends Charo, who is more sensual than Belinda and full of jazz as well as flamenco. Charo has an American boyfriend, Troy. He is completely superficial. When drawing him I thought of Oasis’s Wonderwall, but in the cheesier, Americanised Mike Flowers Pops version.
Through Charo and her American lover I wanted to create a crossing. A little bridge inspired by Miles Davis, bleating his deeply sad Solea . Even at the beginning, the final tragedy can be sensed. Belinda, like the Solea is intense and suffering.
Protagonist B is Robert Aimard. A middle-aged British writer and hotel owner on a small Greek Island. As an antithesis to Belinda he is a classical man. A lover of Schubert and Bach. He reads Schopenhauer and like Belinda he has his demons. He is separate from a wife and daughter he still loves. Nevertheless, he is comfortable in his island exile. At home in the timelessness of it. The Greek music that flows around him is traditional, a sad drinking song , the perfect theme for his own melancholy.
The melancholy is what will eventually unite Belinda and Robert, and to bring them together I had to build another bridge over that which naturally separates them. A music connection. Although at the first glimpse, their tastes are completely different. Belinda’s own pop is Australian and 90s. She is Torn by Natalie Imbruglia and disturbed by her Australian boy friend’s Bowie. Is she running into life on her world trip or away from it?
Between Madrid and Greece she goes to Cologne in Germany. Suddenly the double mask of contemporary Europe confronts her. A mask of pop and a mask of heritage manifesting itself in the monstrous music of Stockhausen. Is this heaven or hell? In Germany she is reminded of her own musical training. Her piano classes. This was the vital detail I needed to construct that musical bridge between her and Robert Aimard. So, I made a classical bridge via the Schumanns. They had their own bridges: Schubert inspires Schumann who inspires Clara Wieck who inspires Johann Brahms. Art rolls into and through itself and the music flows and gushes through the entire process. There are other connections as well: Schumann was a manic-depressive and Belinda is a manic-depressive. She fears death by water like Schumann, like Shelley. A strong romantic theme now grows in this undercover sound track. Meanwhile Robert Aimard’s bridge to the romantic and unto Belinda is in his passion for Leonard Cohen.
All of this sounds so sad and it is, but the landscape is the Aegean. It sparkles full of life and love, and a profound simplicity. The backdrop is the life of the Greek taverna and the spectacle of the traditional Greek wedding. For the most part When Sirens Call is set on this Greek Island and its spirit is the bouzouki , grilled octopus and a glass of ouzo with ice.
Music as sublime tragedy
It is essentially a Greek book and it does end in its own Greek tragedy. For the final scene I turned to Radiohead for inspiration and their Pyramid Song. The piece is bleak but also ethereal and sublimely poetic. Both lyrics and music were perfect to set the mood for my own finish. When Sirens Call is that song.
Paul David Adkin was born in England and grew up in Melbourne where he obtained a degree in literature and drama from Rusden. Since then he has worked in the theatre, directing and writing plays. Paul moved to Madrid where he has formed three theatre companies. He his wife holiday in the Greek Islands. His short story Kalimera won the Eyelands competition in 2012 and was translated into Greek. He has three novels published: Purgatory (2012), Art Wars (2014) and now When Sirens Call. His website is here. Find him on Facebook and on Twitter as @SirensCallNovel @AdkinPaul
My guest this week has a background in acting and theatre directing. When he had the idea for his novel, he was very aware of music helping him to create the setting, the characters and their tensions. Flamenco gave him the unease in one protagonist’s heart; Greek drinking songs suggested another’s melancholy temperament; Miles Davis and Bowie suggested a bridge between them. He is Paul Adkin and he’ll be here on Wednesday with his Undercover Soundtrack.
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by romantic comedy and romantic suspense writer Louise Marley @LouiseMarley
Soundtrack by Robbie Williams, Alesha Dixon, Pulp, Little Boots, Eliza Doolittle, Damian Marley
I’ve always been good at blocking out any distracting noise, whether I’m writing or reading. The distraction of silence is another matter, particularly if I’ve become stuck writing a scene, but I’ve learned to work around this by playing music.
It took me a while to realise the music I chose influenced my writing. I was listening to whatever was in the charts, but the music didn’t always fit the scene I was trying to create and would sometimes take me right out of it. So I got into the habit of creating playlists.
Nemesis, my most recent novel, starts with a flashback to 1998. Natalie is 15 and furious because her parents have forbidden her to go to the carnival. So she’s watching from her bedroom window, hoping to see enough to pretend she was there. Instead she spots her sister, Sarah, sneaking out to meet a man waiting in the shadows. It’s the last time Natalie will see Sarah alive. A quick way for me to take the reader back to 1998 was to reference Robbie William’s Let Me Entertain You, but the song is also about rebellion and infidelity, and these became Sarah’s motivations for running away.
Music also helps me develop my characters by providing them their own ‘theme tune’. Natalie’s became Knockdown by Alesha Dixon. This song, as the title suggests, is about a girl realising that no matter how many times you get knocked down, you have to pick yourself up and carry on. Natalie’s mother neglects her, her father is a violent bully and her sister was murdered. Despite all this Natalie works hard, educates herself and now has a successful career as a thriller writer. She feels it’s the perfect time to finally find out who killed her sister – by using herself as bait.
Understandably Natalie’s boyfriend, Simon, thinks she’s insane to put herself in such a dangerous situation. His character was inspired by Common People by Pulp (the song is also playing when they first meet, back in 1998). The track is really about a rich girl who wants to play at being poor but I twisted the meaning to create Simon, who is one of those people who is never happy with his own life. He hates being one of the ‘common people’. He wants to be rich and successful, and he blames everyone else for the fact he isn’t. Simon is jealous of Natalie’s friend because she lives in a castle, he hates another character because he got the job he wanted, and he’s even bitter about Natalie having the more successful career:
Look at everything you’ve achieved, all those books you’ve sold, the millions you’ve made. But while you’re living up here in your ivory tower, do you ever consider the rest of us? Do you ever think about what it must be like to be me, stuck at that bloody school forever and never progressing, all because of my relationship with you?’
As well as ‘theme tunes’, music helps me work out the characters’ relationships to each other. Remedy by Little Boots, with its line about dancing with the enemy, inspired the relationship between Natalie and Bryn – the man the police suspect of killing Sarah. Bryn’s cousin disappeared the same time Sarah died and he’s convinced the two incidents are connected. Natalie can’t make up her mind as to whether she thinks he’s guilty or innocent.
Despite the police warning her off, Natalie agrees to work with Bryn but, as they follow up one false lead after another, the body of another young woman is found in identical circumstances to Sarah. Natalie is devastated.
She was so small, so slight – so young. I was the one who started this. It should have been me.’
Natalie has spent years trying to bring her sister’s murderer to justice. She’s so used to bouncing back from all those knockdowns she hardly notices them anymore, but this is one knockdown there’s no getting up from. Go Home by Eliza Doolittle, about a girl who is in denial about being in trouble, helped me get into Natalie’s head at this point, revealing why she feels she has to finally give up on this obsession.
Natalie might have given up on her sister’s murderer but unfortunately he hasn’t given up on her.
There was no one there; of course there wasn’t. The front door had remained locked and the chain was even in place. She was spooking herself.
Then the music started.’
I don’t mention the track by name but inside my head it was All Night by Damian Marley, about a man exasperated by his girlfriend. I had the idea that anyone would feel freaked out by music echoing throughout an empty apartment in the middle of the night, wouldn’t they?
Unless they were a writer, in which case it might just kick-start their imagination.
Louise Marley writes romantic comedy and romantic suspense, and sometimes she mixes the two. She lives in Wales, surrounded by fields of sheep, and has a beautiful view of Snowdon from her window. Her first published novel was Smoke Gets in Your Eyes, which was a finalist in Poolbeg’s ‘Write a Bestseller’ competition. She has also written articles for the Irish press and short stories for UK women’s magazines such as Take a Break and My Weekly. Nemesis is available here. Her website is here, her blog is here. She tweets as @LouiseMarley.
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by Chrissie Parker @Chrissie_author
Soundtrack by Elena Paprizou, Glykeria, Beth Nielsen Chapman, Charlie Worsham, Massive Attack, Portishead, Jem, The Moxy
I love music, my ipod goes everywhere with me, and I always listen to music when I write. Everything I write ends up with its own playlist, and certain songs on that playlist define the work, and its characters. Among the Olive Groves was no different. Whilst writing it my brain filled with so many songs that I love. They saw me frantically pouring my heart out onto the page, breathing life into it, and for me they have become an integral part of the book that will always remain.
A magical island
Among the Olive Groves centre’s around two women, Elena and Kate, who live in two different periods of time. They are both affected by similar issues; strained relationships, uncertainty in their lives, and outside factors that control and dictate their lives. Even though parts of the book are set in Bristol and Cornwall, the majority is set on the Greek Island of Zakynthos. Αστέρια (Stars), by Elena Paprizou, is a modern Greek song that reminds me of everything I love about Zakynthos; the high cliffs, sweeping beaches, crystal turquoise seas, green mountains and the history of the island. The song binds them together perfectly.
I fell in love with the island when I first visited, it’s a magical place, and it’s the reason I chose to set the book there.
Greek friendship that turns to loneliness
Greek music played a huge part in this book, especially when writing about Elena my Greek war heroine. I listened to many traditional Greek albums writing this book, but one track stood out. Tik Tik Tik by Glykeria is a great up-tempo Greek song, it’s very like Elena’s character happy, feisty and a little mischievous. The Festival in Macherado is full of dancing and Greek tradition, and in that scene Elena longs to dance with Angelos, the man she has become good friends with, but knows that she can’t. Instead they sneak off to the outskirts of town and talk while the sounds of the festival waft around them.
Eventually Elena and Angelos fall in love, but they’re from different backgrounds and know that they will never truly be together. When Angelos’s father forces him into a relationship with another woman. It’s in this moment that Elena realises she is alone and always will be. Sand and Water by Beth Nielsen Chapman, is a hauntingly beautiful song that epitomises Elena’s unending feelings of loss and loneliness. Listening to the song, I see Elena wandering through the olive groves, sitting on the beach or standing on a cliff top staring out at the sea mourning the loss of her one and only true love.
Relationships to last for decades
Love Don’t Die Easy by Charlie Worsham is a song that belongs to Kate and Fletch and their relationship that spans over a decade. Despite spending much of that time apart their relationship remains the same. Hardship and struggles may have defined the people they have become but their love didn’t die and is stronger than ever.
There were times though when I just couldn’t get into Kate or Fletch’s head at all, and wanted to feel closer to them. I thought that maybe listening to music from the area where they lived would help and it did. Protection by Massive Attack, Glory Box by Portishead, and Missing You by Jem, really stood out and became favourites. They reminded me of all the things I love about Bristol, and the West Country. They define the young, life and surf-loving characters.
When the Germans finally capture Elena, Angelos is heartbroken. He feels guilty and wishes that he could have done more to protect her. As he hides in the grass at Keri watching the Germans taunt her, he is completely torn. He desperately wants to save her from their enemy, but knows that if he does he will get arrested or die trying. Save You by The Moxy, was a song that really struck home while writing this scene, so much so that it’s an emotional listen. The equal guilt and fear from the two characters are so present in the music and the lyrics, it’s as if the song is saying exactly what Angelos longs to say to Elena.
Chrissie Parker lives in London with her husband and is a production co-ordinator in the TV, documentary and film industry. Her thriller Integrate was released in October 2013 and her historical novel Among the Olive Groves was released in July 2014. Other written work includes factual articles for the Bristolian newspaper and guest articles for the charities Epilepsy Awareness Squad and Epilepsy Literary Heritage Foundation. Chrissie has also written a book of short stories and poems, one of which was performed at the 100 poems by 100 women event at the Bath International Literary Festival in 2013. Her website is here, her Facebook page is here, her Facebook group is here, her blog is here and she’s on Twitter as @Chrissie_author.
My guest this week has a historical novel with two timelines, each of them full of loss and turmoil. Music by Portishead, Jem and The Moxy defined the characters and their dilemmas, hurling her into their lives and channeling their emotions as she wrote. Modern Greek music by Elena Paprizou and Glykeria inspired the setting – the island of Zakynthos. She also writes short stories and poems and performed at the 100 poems by 100 women event at the Bath International Literary Festival 2013. She is Chrissie Parker and she’ll be here on Wednesday with her Undercover Soundtrack.
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by Nadine Matheson @nadinematheson
Soundtrack by Nina Simone, Jimi Hendrix, Tom Odell
Personally, I’m not committed to one genre of music. I will listen to anything and writing the story of The Sisters was also an opportunity to look back at my history with music. There is a scene where Lucinda is shopping in Portobello Market with her manager and she picks up a Jim Reeves album. Now, Jim Reeves was a 50s/60s country singer and my dad would play him on a Sunday morning and then move on to soul or reggae while my mum would be playing David Bowie or reminding me about the giant Marc Bolan poster that she had on her bedroom door when she was teenager. That’s how eclectic my own musical journey was and it was an important part of my own journey when writing this book.
In my head, I think that everyone walks around with their own theme tune. I like to think that Jimi Hendrix’s Crosstown Traffic or All Along the Watchtower is being blasted out of speakers every time I enter a room or walk down the street. The same warped principle applies when I begin to write. The idea of writing in complete silence fills me with dread and when I’m planning my book’s I always play All Along the Watchtower. The start of the song is about formulating a plan and that there has to be an escape. That’s how I feel about the process of writing a book. There has to be a way out of this story I’ve created. There has to be an end.
The underlying theme of The Sisters is transitions and the effects of misunderstanding. Just like a good book, music is both transitional and emotive. The first character that I could see as a fully rounded person was Lucinda and the only singer that I could hear in my head was Nina Simone and one of my favourite songs Don’t let me be misunderstood. As I began to write Lucinda, I had an immense dislike for her and I initially thought that she was one dimensional but I kept playing Nina Simone’s Don’t let me be misunderstood.
I kept replaying that song because not only did it become the character’s mantra but it also reminded me that this was a character with many facets and not the resident one-dimensional baddie of the book. There is a scene in The Sisters when Lucinda says that she wants her music to be stripped back – that is Nina Simone’s reminder to me that for Lucinda to make her transition, I had to show her vulnerabilities. A favourite quote of mine from Nina Simone is ‘Sometimes I sound like gravel and sometimes I sound like coffee and cream.’
Because I was writing about sisters who were in an R’n’B band in the 90s, I made a conscious effort not to listen to any music from that time period, that the sisters would have been playing/singing. I think that would have pigeonholed the characters and not allow them to grow.
There are lot of misunderstandings in The Sisters and the classic syndrome of people covering up how they really feel. When I was writing a scene that involved the sisters finally acknowledging what was going on both internally and with their own relationships I would play Tom Odell’s Can’t Pretend. It is haunting but when you listen to the lyrics it’s not the end of the world, as if all hope is gone. There needed to be a strong sense of authenticity in The Sisters and while writing the book, I chose music where there was a clear complexity in the lyrics. I wanted to show that life isn’t a glossy manufactured package and that there is always more to us than what you first see when we walk into a room.
Nadine Matheson’s The Sisters was published last month. She has also contributed to the sci-fi anthology No Way Home. When she’s not writing, Nadine works as a criminal lawyer. Her crime novel Key Positions was shortlisted for the City Uni/David Higham Associates Crime Writing Competition 2014. She is planning another sci-fi short story as well as working on completing her crime novel. Find her on her website, Facebook and Twitter @NadineMatheson.
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by contemporary fiction author Guy Mankowski @Gmankow
Soundtrack by Savages, Manic Street Preachers, David Bowie, New Order, Magazine, Ultravox, Yourcodenameis: milo, Joy Division, Marilyn Manson, El Perro Del Mar
I think music has influenced me in a way that is perhaps unusual. One of my favourite bands, Savages, describes their music as a ‘suit of armour’. I use music to motivate me, empower me, and rouse me into a state of anger that I convert into writing. My favourite album, The Holy Bible by the Manic Street Preachers, contains a set of lyrics which are all about corruption and negativity, and about converting that anger into self-empowerment. During periods of difficulty in my life I’ve returned to that album again and again. The lyrics to my favourite song from it, Faster, capture many of the mantras I live by.
I first wanted to write How I Left The National Grid to capture, in writing, that feeling that music gave me. The mind-set of Savages and The Manics influenced my main character, the singer Robert Wardner, who uses his music to escape the bleakness of his surroundings. But the novel itself was written using various other non-lullabies.
The novel is comprised of two narratives- one, set in the 80s, following Robert Wardner’s rise and fall. The other, set in 2012, as a journalist called Sam tries to track Wardner down for a commissioned book. Whilst spending time in Manchester to research the post-punk scene I was struck by how many times the city has been bulldozed and regenerated in the last few decades. To me, the fragile, futuristic synths in New Order’s music worked as a metaphor for the fragile, futuristic living complexes that have sprouted in recent years. I felt the texture of New Order’s brittle guitars and undulating keyboard lines during the long, searching city walks I took. They inspired Sam’s more hopeful moments in his journey. I think that New Order used synths to evoke a future that then seemed impossibly utopian, given their grim surroundings in urban Manchester.
In the novel Wardner fronts a band called The National Grid, who similarly try to create aural utopias on record, using whatever instruments they can lay their hands on. Magazine’s album Definitive Gaze and Ultravox’s Astradyne seemed to me the two records that had gone closest to achieving that. Neither are pristine, but their flaws make them all the most charming.
At the start of the novel Sam, and his girlfriend Elsa, are genuinely in thrall of futuristic visions about communal living, having just moved into a luxury apartment block. During the writing of these scenes I played I’m Leaving by Yourcodenameis: Milo again and again. The hard surfaces and polished textures of the song, along with singer Paul Mullen’s lyrics about living in a complex, were very evocative.
David Bowie has been quoted as the godfather of post-punk, and so perhaps fittingly his album Low was incredibly important in the creation of the book. Not least because in one scene, like in the song Always Crashing In The Same Car we see a character driving menacingly around a hotel car park, faster and faster, until a crash seems unavoidable.
During his car journey to Manchester’s sink estates, in pursuit of Wardner, Sam listens to Joy Division’s Disorder, and he acknowledges the hard interiors of their song, as uncompromising as the unyielding, Brutalist surfaces around him. At other times he doesn’t skirt around cities, but is taken into the dark heart of them. In the scene in which his hunt takes him to a debauched London nightclub I had Marilyn Manson’s Great Big White World play in the background in the prose. The song has a synthetic, artificial, glossy feel to it, as if the arrangement is cased in Lucite. The song felt as Ballardian as the modern nightclub environment. I also used El Perro Del Mar’s Dark Night again and again as muzak during the writing of one scene in which a character experiences a comedown. The lulled vocals and the incessant repetition of that song are somehow addictive, and capture the atmosphere perfectly. This novel could not have been written without the push that such songs gave me.
Guy Mankowski was raised on the Isle of Wight. He was singer in Alba Nova, a band who were described by Gigwise as ‘mythical and evocative’. He trained as a psychologist at the Royal Hospital for Neurodisability in London. The first draft of his debut novel, The Intimates, was written when he was 21 and was chosen as a ‘must-read’ title by New Writing North’s Read Regional campaign. His second novel, Letters from Yelena, was researched in the world of Russian ballet. He was one of the first English people to be given access to The Vaganova Academy, perhaps the most prestigious ballet school in the world. The novel was adapted for the stage and used in GCSE training material by Osiris Educational. How I Left The National Grid was written after a creative writing PhD at Northumbria University under the supervision of Booker nominee Dr Andrew Crumey, and is published by Zer0 Books. Guy’s website is here, his Facebook page is here and you can tweet him on @Gmankow.
My guest this week says his novel emerged as part of his creative writing PhD. He was inspired by the post-punk scene in Manchester, and drew on a soundtrack of The Manic Street Preachers, New Order, Ultravox, Savages and David Bowie to summon the grim streets of the city and the mindset of his troubled main character, a rock star who mysteriously disappears. He is Guy Mankowski and he’ll be here on Wednesday with his Undercover Soundtrack.