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Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is award-winning percussionist Pete Lockett @petelockett
Soundtrack by Pete Lockett with Björk, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong, Nicko McBrain, Iron Maiden, U Shrinivas, Ronan Keating, Vanessa-Mae, Errol Brown, Rory Gallagher, Pet Shop Boys, Hari Haran, Kodo, Amy Winehouse, Mel C, A R Rahman, Sinead O’Connor
This music is just incredible; I’ve never heard anything like it before.”
I doubt if anyone outside of this community ever has. This is what you get when Brahms and Bach have been living next door to one another for hundreds of years.They don’t even use notation any more.They’ve just devised a way to conduct the whole group with nods, looks and head shakes.Look, can you see them there at either side? Bach is doing all the spiky staccato stuff and Brahms is doing the smooth legato.It’s all totally improvised and will never happen again. Every rendition is completely different.They both claim that it is the highest level of composition one can reach.Instantaneous composition, conducting and performance.”
When Ed Trew wakes up with a killer hangover, little does he realise that it is the beginning of a mind-boggling journey of revelations and surprises that completely reshapes his view of the world. In the midst of chaos and confusion he becomes completely seduced by music.
It’s no surprise that music and the arts so often act as a liberating influence, giving some lucky individuals the chance a world of creativity and hope. I am grateful to fate to have been propelled out of an ordinary, functional and less than satisfying existence. Music came and lifted me away and showed me a path towards self fulfilment where my mind could become a canvas for fresh ideas. Everything about music fascinated me and as I grew, I slowly started absorbing influences from every corner of the globe, from India to Africa and Nepal to New York – the systems and techniques, sounds, colours and moods. It also led me to a much deeper understanding of people, their motivations, formalities and habits. The way people make music reveals a lot about the culture from which they have flourished.
This ‘open plan’ consumption and integration of varied influences naturally became a cornerstone of my writing when I finally got around to penning a novel. Having had a great degree of freedom in my interpretation and mixing of musical styles, it was natural that this approach got carried over into ideas and stories.
When I sit down and compose music, I start with nothing. That moment of making the first sound or writing the first note is always special, all the more so because I have no idea where it is going to lead. This influenced me directly to try the same thing with words, to take a simple starting point and embark on a journey, not knowing where or how I would get between the various points along the way.
I knew I wanted to have the same freedom that I find in music, able to bring together seemingly disparate concepts and make a new sense out of it all. To be unbound by all that is ‘normal’ but convincing enough to create a dialogue that stands up under scrutiny. As I wrote more and more, I was amazed about how similar the creative buzz was between both of them. I never thought I would find anything that gave me the spiritual lift that music making did but was convinced otherwise during the writing of A Survivor’s Guide to Eternity.
Just as I would embark on so many journeys with my work as a musician, so the character in my book is thrown headlong into an incredible journey, except his is through life, death, reincarnation and the afterlife. Little does he realise that it’s the beginning of a mind-boggling journey of revelations and surprises that completely reshapes his view of the world.
Structure and suspense
Once I really started to get into it, the writing and music began to feed one another even more in quite an inspiring way. A good gig would send me straight back to the hotel with my laptop to get writing and vice versa. I began to think through certain pieces of music and see how the suspense built up over a set time frame, keeping the listener engaged and waiting for the next development. Indian classical music is perfect for that, especially over long periods of time. I began to experiment to see how I could mirror that in my storytelling, sowing seeds and planting suggestions, but all the while keeping the reader impatient for the detail of the next development. As I thought about it, more and more parallels became apparent between literature and music.
Before I knew it I was unconsciously taking on board the broad shapes of pieces of music, flowing like a river around bends and over rocks, sometimes calm and sometimes ferocious. It gave me a great insight into how to approach the timeline within the novel, sometimes going slowly and patiently before propelling it through rapids and over rocks down towards a calming resolution.
There’s so much in common between the two disciplines. One tells a story with words and the other with sound. We need to keep the listener/reader interested with suggestions but not in a way that paints an obvious picture. We need to create suspense, excitement, anticipation and resolution. I never thought they would be quite so interlinked.
Pete Lockett has recorded and/or performed with Björk, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong, Nicko McBrain (Iron Maiden), U Shrinivas, Ronan Keating, Vanessa-Mae, Errol Brown, Rory Gallagher, Pet Shop Boys, Hari Haran, Kodo, Amy Winehouse, Mel C, A R Rahman, Sinead O’Connor and many more. He arranged and recorded ethnic percussion for five Bond films and other Hollywood blockbusters and has taught and lectured worldwide, including The Royal College, Berklee School of Music Boston, and The Royal Academy of Music in London. He is the author of Indian Rhythms for the Drum Set (Hudson). A Survivor’s Guide To Eternity is his first novel. Here he is on a mountain with percussionist Benny Greb. Find him on Twitter @PeteLockett
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Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week’s post is by NYT bestselling author and ghostwriter Joni Rodgers @JoniRodgers
Soundtrack by Dick Dale & the Del Tones, The Playboys, Rockin’ Rebels, The Ventures, The Trashmen, The Tremolo Beer Gut, Propellerheads, Shirley Bassey, Fabulous Playboys, B-52s, Booker T & the MGs, Dave Brubeck, Archie Bell & the Drells, Caroline Savoie, Hanson, Cake, Nancy Sinatra, Duffy, Amy Winehouse,
Kill Smartie Breedlove is the story of a Shep, a dishonored cop, and Smartie, a pulp fiction writer, who is convinced that Shep’s employer, divorce attorney Suri Fitch, is behind the murders of several of her clients’ inconvenient exes. It is the most fun I’ve ever had writing a book – ever – and was born out of a pure pleasure reading/listening binge of pulp fiction (hardboiled mysteries of the 1930-60s) and ‘pulp music’: electric guitar and percussion-driven beats embodied by Dick Dale & the Del Tones’ Misirlou – which a lot of people associate with the movie Pulp Fiction. The Playboys’ Cheater Stomp actually gave me the original working title.
As I absorbed a plotting masterclass from Dashiell Hammett and Raymond Chandler, the vaguely nerdy vibe of the music took me to a creative place that was fun and full of reckless energy, a semi-cool throw-back to horn-rimmed glasses and pencil pants. The Dick Dale channel on Pandora features The Ventures, Rockin’ Rebels and other old-timers along with gritty off-beat wonders like The Trashmen and a Danish band called The Tremolo Beer Gut. These instrumentals are driven machine-gun percussion and gritty electric guitar leads. They’re a bit reminiscent of the theme music from The Munsters – which might explain the macabre undertones that rumble and rise throughout the book, which has a lot of ‘whistling past the graveyard’.
Rhythm and sense memory
Two songs that anchored me to my original vision with rhythm, lyrics and sense-memory: Propellerheads (featuring Shirley Bassey) History Repeating and The Fabulous Playboys Nervous. Archie Bell and the Drells Tighten Up always reminds me of exactly what I love about Houston, which is very Southern but very urban.
Roam by the B-52s plugged me into the quirky artistic tourism that compels dysfunctional Smartie to observe people and extrapolate their backstories. Dave Brubeck’s classic Take Five and Booker T & the MGs’ Green Onions perfectly capture the plodding procedural aspect of Shep’s work and the patiently canny way he goes about his daily grind.
Both Shep and Smartie are widowed, and a collection of cover versions of Bill Withers’ Ain’t No Sunshine kept me mindful of how that terrible loss motivated and defined them. Two of my favorite covers are Caroline Savoie and Hanson. (Seriously! As in ‘MmmBop’ Hanson. They grew up. Sort of.)
Divorce attorney Suri Fitch’s calculating brilliance (and Shep’s ill-timed attraction to her) steps out of Cake’s Short Skirt Long Jacket, while the transformative sorrow, betrayal and bitterness she sees (and generates) in her business are present in Nancy Sinatra’s Bang Bang, Duffy’s Stepping Stone and Amy Winehouse’s Back to Black.
One of my favorite aspects of this novel was the chance to write about the publishing industry with a bit of the ol’ gimlet eye. Smartie and her critique-mates, a group of women authors called the Quilters, approach writing life with a wistful pragmatism best expressed by Nancy Sinatra remixing one of her dad’s standards, This Town.
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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is multi-award-winning young adult novelist Tabitha Suzuma @tabithasuzuma
Soundtrack by Rachmaninoff, Shin Suzuma, Bomfunk MC, Eminem, Charlotte Church, Lea Salonga, Mozart, Katherine Jenkins, Serge Gainsbourg, Charlotte Gainsbourg, Philip Glass, Gabriel Faure, Amy Winehouse, Garbage, Lana Del Rey, Paloma Faith, Marilyn Manson, Gabriel Yared, Christopher Duffley
The music came before the idea, before the very first book, before the whole career. I was working as a school teacher and spending most of my salary on tickets to concerts at the Royal Albert and Royal Festival Halls. My debut novel, A Note of Madness (2006), was born out of my lifelong obsession with music, mainly classical, and in particular Rachmaninov. The novel is about Flynn, a teenage piano prodigy who falls prey to bipolar disorder as he struggles to master the notoriously difficult Rachmaninoff’s Third Piano Concerto. So the piece, as well as my own struggles with the illness, inspired the whole book. I have always loved music and used to skip lessons at school to sneak into the music room where I started teaching myself the piano. My brother, concert pianist Shin Suzuma, was born when I was 14 and started picking out tunes on my keyboard before he could even walk. I was determined he should have every opportunity to become the concert pianist that I felt he was destined to be, so began teaching him. Today he is finishing his studies at the Royal Academy of Music and embarking on this very career.
The sequel to A Note of Madness came a couple of years later. A Voice in the Distance (2008) was dedicated to my brother, mainly because his music room was above my study, so he provided me with a live soundtrack to my book. He was learning the equally ambitious Rachmaninoff’s Second Piano Concerto at the time, a piece which features prominently in the book, and shortly after finishing it, I finally got to see my brother perform the piece with his university orchestra. The two books also feature Bomfunk MC’s Freestyler and Eminem, which I would listen to when writing Flynn’s manic episodes. His girlfriend, Jennah, is a singer and performs Summertime (performed here by Charlotte Church, On My Own (performed by Lea Salonga) , and Mozart’s Laudate Dominum (sung by Katherine Jenkins) – three of my favourite songs that I listened to on repeat.
So music and writing, for me, have always been irrevocably entwined. The first thing I do every night when I sit down to write is sort out my playlist. My last book, Forbidden (2010), is a tragic love story about an incestuous relationship between a brother and sister. Because of its subject matter, it was a harsh, frightening and lonely book to write. It wasn’t a plot I could discuss with family or friends, I had no idea if it would ever be accepted for publication, I was teaching by day and writing by night, so it was very intense. I was often in tears, and a combination of severe clinical depression, stress, insomnia and sleep deprivation led me to having breakdown soon after finishing it. The music I wrote it to reflects both the tone of the book and my state of mind at the time. Lemon Incest and Charlotte Forever by the late Serge Gainsbourg and his then teenage daughter Charlotte Gainsbourg are both songs about father-daughter incest, and understandably created a great deal of controversy and anger when they were released in the mid-eighties. Philip Glass’s amazing soundtrack to my favourite movie The Hours was also permanently on my playlist, along with Faure’s Requiem and Mozart’s Requiem, which I listened to throughout writing the extremely painful final chapters of the book.
After Forbidden, I was forced to take a break from writing for health reasons, but have finally finished writing my sixth book, Hurt, out this September. It was an equally tough book to write, dealing with a similarly difficult, controversial and painful subject matter. I wrote it to Back to Black by Amy Winehouse, Only Happy When it Rains by Garbage, Born to Die by Lana Del Rey, Lose Yourself by Eminem, Play On by Paloma Faith, and a very haunting cover of The Beautiful People by Marilyn Manson. These songs helped me get into the detached, heavy-hearted and depressed moods of Mathéo: a talented, privileged teenager who on the surface appears to have it all but deep down, harbours a terrible secret that threatens his life as he knows it, as well as the relationship he has with the only girl he has ever loved. It is one of the harsher, grittier and more difficult books I have written, and the soundtracks to the films Sylvia and Never Let Me Go also helped me reach the levels of distress experienced by Mathéo as he battles with his secret, his past, the consequence of his actions, and ultimately attempts to achieve forgiveness and absolution.
I am about to start writing my book for 2014. I can’t say what it is about yet, but I can say that it will be written to the soundtrack of the heart-wrenching voice of 11-year-old Christopher Duffley, and in particular his rendition of the song Open the Eyes of my Heart which I have already started listening to on repeat.
Tabitha Suzuma is an award-winning author of six books. Her most recent, Hurt, is due to be released in September 2013. Her last book, Forbidden, a controversial and hard-hitting book about sibling incest, was translated into six languages and won the Premio Speciale Cariparma for European Literature Award as well as being nominated for a number of others. She has won the Young Minds Book Award and the Stockport Book Award. Her books have been shortlisted for the Branford Boase Award, the Lancashire Book of the Year Award, the Catalyst Book Award, the Stockport Book Award, the Jugendliteraturpreis Book Award and nominated for the Waterstone’s Book Prize and the Carnegie Medal. For more, visit www.tabithasuzuma.com, add her on Facebook: www.facebook.com/tabitha.suzuma, or find her on Twitter: @TabithaSuzuma
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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 Kim Wright, author of Love In Mid Air
For some reason, I’ve always had a penchant for songs that sound upbeat on the surface but that have, when you stop to listen, dark or menacing lyrics. When I was writing Love in Mid Air, I listened to Nick Lowe’s Cruel to Be Kind and I also liked Kryptonite by 3 Doors Down. It makes sense, because the novel is about a woman who seems to have the perfect life, but who has this sarcastic, discontent, wounded inner voice.
Manic energy and heartbreak
I read somewhere that there’s only one theme in literature, which is ‘Things are not what they seem’. Maybe it’s not the only theme in literature, but it’s a good one, which might be why I like songs where the melody and the lyrics don’t quite match. Lately I’ve fallen in love with Valerie by Amy Winehouse, especially the live version. It’s the epitome of using manic energy to cover up heartbreak and it punches me smack in the gut every time I hear it.
In my head, my heroine Elyse had a theme song, which was The Angels Wanna Wear My Red Shoes by Elvis Costello. It seemed to speak to Elyse’s obsession with turning 40 and her sense that time was running out – and the fact she’s so determined to seize life that she’s almost prepared to make a pact with the devil. The reference never made it into the book, but I’m working on the sequel now, which is told from the point of view of Elyse’s best friend Kelly, and there’s a scene where Kelly comes downstairs one morning and finds Elyse in the kitchen frying eggs and singing the Costello song.
For the wicked scenes
Sex scenes require something really different. Usually I write them in public spaces, like a Starbucks or sushi bar, and I have absolutely no theory on that one. Having a crowd around me seems to break down my inhibitions, although I worry sometimes that I’ll leave my laptop to go to the bathroom and come back to find I’ve been arrested on some sort of morals charge. When I’m home I play either Wicked Game by Chris Isaak – who I met one time and, incidentally, he’s just as hot as his song - or, if the scene calls for something more domestic or tender, Warm Love by Van Morrison. Van Morrison might be a patron saint for writers in general. His lyrics are terrific.
When I was doing a lot of magazine writing, we always worked way ahead of schedule – I was writing articles about the dangers of sunburns in December and tips for New Year’s entertaining in July. Music was a way for me to trick myself into the seasonal switch. In Love in Mid Air, Elyse throws a big Christmas party and I was working on that scene down at my mom’s beach house in the dead of summer. I specifically remember listening to Diana Krall singing Sleigh Ride one afternoon while I was walking my dog on the beach and it was like 100 degrees.
Headspace and rituals
It’s funny how often writers use these weird little tricks to get themselves into a certain headspace- to reset their thoughts to another place or time or mood. Developing rituals around your writing seems to be a key part of the job and I’ve often thought that the writers who claim they never get blocked are those who have created very specific signals to their subconscious that say ‘Sit down and shut up, because it’s now time to write’. Music can be a big part of this; it’s like a shortcut between certain parts of the brain.
3 Doors Down, Amy Winehouse, authors, Chris Isaak, contemporary fiction, Desert Island Discs, Diana Krall, Elvis Costello, Kim Wright, Love In Mid Air, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Nick Lowe, playlist for writers, Roz Morris, soundtracks, The Undercover Soundtrack, undercover soundtrack, Van Morrison, Women's fiction, writers, writing to music
- 'Constant murmur of pouring rain, piano chords and a stormy sea'
- 'A spellbindingly good yarn'
- 'Simple, beautiful - gripping'
- 'So original it's in a class of its own'
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
- Carol is a concert pianist until an injury threatens her career. Desperate for a cure she discovers her future incarnation - or is he a psychological figment? And can he help her recover?
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What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
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- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'