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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
A R Rahman, A Survivor's Guide to Eternity, Amy Winehouse, authors, Bill Bruford, Bjork, Craig Armstrong, Damien Rice, Dave Weckl, Desert Island Discs, Dido, drama, entertainment, Errol Brown, fantasy, Hari Haran, Iron Maiden, Jarvis Cocker, Jeff Beck, Kodo, Lee Scratch Perry, male writers, Mel C, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nelly Furtado, Nicko McBrain, outside of this community, percussionist, Pet Shop Boys, Pete Lockett, Peter Gabriel, playlist for writers, Primal Scream, reincarnation, Robert Plant, Ronan Keating, Rory Gallagher, Roz Morris, Sinead O'Connor, Survivor, Texas, The Undercover Soundtrack, The Verve, Thomas Lang, Trans-Global Underground, U Shrinivas, undercover soundtrack, Ustad Zakir Hussain, Vanessa-Mae, writers, writing, writing to music
My guest this week is a percussionist who has worked with an astonishing list of world-class musicians – Bjork, 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 – and more. He found that his music fuelled a desire to write a novel, and after a good gig he would rush back to his hotel room, eager to pour out the next chapter. He says he wanted to take a simple starting point and construct an epic journey that ventured outside the normal – bringing together birth, death, the afterlife, reincarnation and immortality into new coherence, and echoing the journey he takes when working with musicians. The result is A Survivor’s Guide to Eternity; he is Pete Lockett and he’ll be here with his Undercover Soundtrack on Wednesday.
A Survivor's Guide to Eternity, authors, Bill Bruford, birth, Bjork, Craig Armstrong, Damien Rice, Dave Weckl, death, Desert Island Discs, Dido, drama, drummer, entertainment, immortality, Jarvis Cocker, Jeff Beck, Lee Scratch Perry, male writers, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nelly Furtado, percussionist, Pete Lockett, Peter Gabriel, playlist for writers, Primal Scream, reincarnation, Robert Plant, Roz Morris, speculative fiction, Survivor, Texas, the afterlife, The Undercover Soundtrack, The Verve, Thomas Lang, Trans-Global Underground, undercover soundtrack, Ustad Zakir Hussain, world-class musicians, writers, writing, writing to music
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 bestselling romantic novelist Fiona Walker @fionawalkeruk
If I know I’m not going to be overheard, I sing – in the bath, on long dog walks, and when writing, or more realistically the thinking pauses between writing. This habitual distraction is also creative inspiration. It’s no coincidence that characters sing in many of my books, from my first novel French Relations in which dinner party guests gather around a piano to perform Eric Clapton’s Wonderful Tonight, to my twelfth novel The Love Letter, where my heroine inadvertently finds herself duetting an old Bo Diddley number with her ex boyfriend in the local pub. That song, You Can’t Judge A Book By Its Cover, is a joyful riot of old-time rhythm and blues that also feeds into the themes of a novel in which characters are not as they first appear, most especially a reclusive writer who hides his identity behind a pen name.
As a romantic novelist with a reputation for raunchy romps, I appreciate Bo Diddley is a far cry from a power ballad, but I once bought The Greatest Love Songs In The World…Ever to listen to when writing passionate scenes – much to my husband’s hilarity – and it was the most awful backing track from which to seek inspiration, like writing on the dance-floor at an over-40s singles night. Most of the music I listen to when I write is white noise, and if I’m on a roll I don’t notice it at all, until that one song sticks, and that’s when inspiration strikes.
When a song connects with a book’s plot, I often play it – and sing it – day and night, and it occasionally even gets woven into the text. This means that I have to be very careful what I listen to when writing. It once cost me almost as much as a new car to gain permission to quote six lines of a Jim Steinman track that I couldn’t get out of my head, after which I not only stopped featuring heroines who were Meatloaf fans, but also monitored my listening habits and now tailor them to each book. I keep a limited number of CDs ripped to my computer, so if I’m not listening to the radio, I’m going through the same albums on a loop, many of them instrumental. The energetic Brazilian guitarist/percussion combo Rodrigo y Gabriela fuelled the first draft of The Love Letter; the sultry Gotan Project added tempo; saxophonist Jan Garbarek injected cool, and I played endless Mozart for jollity and Bach for comfort.
When the rough plot of The Love Letter was in place, that tailor-made compilation changed to vintage Kate Bush, Stravinsky’s Firebird Suite, Bjork and Birdy, all inspiring the book’s larger than life characters, comic melodrama and coastal setting, as well as a very long, flirty seduction in a fairytale tower. Yet it was when googling something entirely unconnected that I found the Bo Diddley song that fitted the story so well that I couldn’t stop playing it.
If I hit upon a theme-tune for a plot or its characters, I know I have a secret entrance into the book, and although the album or song itself may never appear on the page, you can guarantee I’ve listened to it hundreds of times when writing certain scenes. One of my novels was written whilst listening to Damien Rice almost non-stop, another to Alison Krauss – and when a romantic hero who always made me think of Christy Moore’s Ride On featured in a sequel 10 years after his first appearance, I only had to listen to the song to find him coming to life again. Although many of these songs get honourable mentions in the books, only the very special few are performed by me and my characters; You Can’t Judge A Book By Its Cover is still being sung loudly in Worcestershire.
Fiona Walker became a best-selling novelist in her 20s and her books have sold over two million copies worldwide to date. Dubbed ‘The Jilly Cooper of the Cosmo generation’ she is renowned for her large casts, addictive plots and sharp wit. She lives in rural Worcestershire with her partner Sam who is a dressage trainer and their two daughters. Her twelfth novel, The Love Letter, is published by Sphere.Find her on her blog and on Twitter @FionaWalkeruk
Alison Krauss, authors, Birdy, Bjork, Bo Diddley, Christy Moore, contemporary fiction, Damien Rice, entertainment, Eric Clapton, Fiona Walker, French Relations, Gotan Project, I Stravinsky, Jan Garbarek, Jim Steinman, JS Bach, Kate Bush, literature, Meatloaf, Mozart, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, raunchy romance, Rodrigo y Gabriela, romance, romantic novels, Roz Morris, soundtracks, The Love Letter, The Undercover Soundtrack, undercover soundtrack, 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'