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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 horror and thriller writer Will Overby @Will_Overby
I have never understood how anyone can write in total silence. Call me crazy, but there’s something about writing to music that frees up the flow of thought, that takes my mind to places I wouldn’t ordinarily visit, that presents me with sudden, surprising inspiration.
I first noticed this back in 1984. I had just graduated high school and I was working on what would turn out to be my first completed novel, August. That summer I purchased Bruce Springsteen’s Born in the USA and listened to it most days when I was writing. As the weeks went by, I quickly realized that it was becoming a soundtrack of sorts to the book. Songs like Downbound Train and I’m On Fire helped me add a particularly gritty feel to the character of Brian DeCanto and gave him a depth I couldn’t have achieved otherwise.
This was a revelation. Subsequent stories and novels continued to have soundtracks, including a never-to-be-published young adult novel inspired completely by the music of U2. Back in the day I would make mix tapes to play while writing. I still have a couple of those tapes, and it’s really interesting to go back now and see what inspired me 15 and 20 years ago. Nowadays I just cue up a playlist on my computer, and I can add and delete selections at my whim.
While writing this post I’m listening to the music I used for inspiration while working on my novel The Island. In this story two friends, Sarah and Amy, travel to a Caribbean island for a getaway but end up being caught up in a vodou cult complete with zombie rituals and mysterious disappearances. There is also a touch of romance, as Amy falls for a local tour-boat operator, David.
When first developing this book, I would often listen to the type of music I imagined the characters would enjoy. Sarah and her fiancé, for instance, are into big band music, so much of her characterization involved immersing myself in songs like Goody Goody by Benny Goodman. David, on the other hand, collects vinyl records and is especially fond of 50s jazz; John Coltrane seems to be his favorite for reflection, but as his and Amy’s love affair blossomed, I found myself drawn to sultry numbers by Julie London like I’m in the Mood for Love to accentuate their growing sexual attraction.
When it came to the meat of the book, I relied on instrumental pieces – both modern classical and film soundtracks – for inspiration. The zombie ritual near the end of the book, for example, is set to Kryzysztof Penderecki’s Polymorphia – a creepier piece of music I’ve never heard; you can almost feel skeletal fingers closing in around your throat as the pizzicato strings play a frenetic path up and down the scale. Likewise, his The Dream of Jacob was sometimes set to repeat when I needed a feel of dread and unease. For scenes early in the book when Sarah is having hallucinations and nightmares, Gyorgy Ligeti’s Lontano wonderfully portrays the outward appearance of calm while panic and horror gnaw inside.
No music was a greater inspiration, though, than Brett Rosenberg’s soundtrack to the 2006 film, Half Light. While the more horrific music seemed to mirror some of the Penderecki pieces to great effect, the quieter more melodic passages were fantastic in helping me round out the character of Sarah. The heart-rending solo violin selection Girl in the Storm, for example, perfectly captures Sarah’s sense of loss and loneliness.
For those of us writers who use it, music can be a great motivator. I know if I’m having trouble getting in the mood of the story I can turn on the book’s playlist and the thoughts start flowing again. If you happen to be one of those who can’t write with the distraction of music, I urge you to try listening to some pieces to set your mood before you write. You may just be surprised at what springs into your mind. And onto your page.
Will Overby has spent 30 years in the boardrooms and glass offices of retail banking. Between dodging mergers and drafting policies he publishes novels. He and his wife live far from the corporate world in rural western Kentucky. They have two grown children, a dog, and a menagerie of cats. A graduate of Indiana University, Will is an avid Hoosiers football fan. Connect with Will on his website, www.willoverby.com, on Facebook, or follow him on Twitter.
authors, Benny Goodman, Brett Rosenberg, Bruce Springsteen, Desert Island Discs, drama, entertainment, friends, Gyorgy Ligeti, horror, horror novels, how to write a horror novel, how to write a thriller novel, how to write a zombie novel, I’m On Fire, inspiration, Julie London, Kryzysztof Penderecki, male writers, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, soundtracks, The Dream, The Undercover Soundtrack, thriller novels, thrillers, U2, undercover soundtrack, vodou, voodoo, Will Overby, writers, writing, writing to music, zombie novels, zombies
I’m finding it so curious to see how many novelists in this series are inspired by Bruce Springsteen. He’s probably not the kind of artiste people would imagine if you mentioned using music as a muse to write, but he’s behind so many characters and character dilemmas. My guest this week has compiled writing soundtracks ever since he was at school, and still keeps mixtapes from that time. He revisits them occasionally out of amused curiosity, and says that Springsteen gave his characters a gritty humanity he couldn’t otherwise have found. Decades on, he’s using soundtracks just as much as ever – sometimes not to write, but to fill himself with the book’s mood before he sits down at the keyboard. He is Will Overby and he’ll be here with his Undercover Soundtrack on Wednesday.
authors, Bruce Springsteen, characters, Desert Island Discs, drama, entertainment, male writers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, Springsteen, The Undercover Soundtrack, undercover soundtrack, Will Overby, writers, writing, writing to music, zombies
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 romance novelist and Novelicious founder Kirsty Greenwood @kirstybooks
Soundtrack by Jeff Buckley, Fairground Attraction, Phoenix, Carole King, John Grant, Grease 2, George Fenton, Color Me Badd, Bobby Helms, Skeeter Davis, Rosemary Clooney, Duke Ellington, Stacey Kent, Best Coast, Stevie Wonder, Hans Zimmer, Danny Elfman, George Gershwin, Rufus Wainwright, Ella Fitzgerald, Toni Braxton, Ani Difranco
I always intended to have a career in music. Encouraged by musically minded parents, my sisters and I spent much of our teenage time singing in harmony. We were cool that way. Known for our rendition of The Andrews Sisters’ Boogie Woogie Bugle Boy, we performed in local pubs, at karaoke, family birthday parties and such. We still get asked to perform Boogie Woogie, but it’s not quite so adorable now we’re in our 30s. At 22 I studied music at college, sang, learned to play the guitar and wrote whimsical/folksy pop songs. I won a ‘Song of the Year’ award and wrote and sang for a local bhangra/pop producer. Music was my everything. Shortly after getting my degree, I was hit with a period of bipolar depression that lasted for over a year. I stopped performing and lost all interest in pursuing music professionally. During my recovery I started to write romantic comedy – writing fiction is remarkably similar in process to writing songs (both crafted in terms of story, rhythm, theme, timbre, pace and texture) – and found it to be hugely enjoyable as well as restorative.
A creative place
I use music to quickly access a creative state, particularly if I’m procrastinating on a book or I’m having a day when I don’t feel like writing jokes. So before a writing session I’ll listen to songs that buoy my spirits, energise and inspire me. Jeff Buckley (Mojo Pin, Vancouver and So Real are all shortcuts to a mood lift), John Grant’s Queen of Denmark album, Carole King’s Tapestry, Eddi Reader, Phoenix, Stevie Wonder’s Songs in the Key of Life, Rufus Wainwright, Ella Fitzgerald, plenty of 80s power ballads and, er, the Grease 2 soundtrack which just straight up makes me laugh.
When deep into writing I love the easy companionship of music, but find anything lyrical too entertaining and end up singing along. I’ll listen to classical music and film instrumentals, particularly Hans Zimmer, Danny Elfman, George Gershwin and George Fenton, whose You’ve Got Mail soundtrack really helped me to get into a jaunty, ‘romcom’ mind-set for Yours Truly, as well as making me think about Nora Ephron and how I need to try harder.
Back to the 90s
My debut novel, Yours Truly, gave me a legitimate excuse to listen to lots of 90s pop. My leading man, Riley, has a thing for the supremely cheesy band Color Me Badd (they had one hit song, it was called I Wanna Sex You Up), and there’s a sex scene set to Toni Braxton’s extra randy You’re Making Me High. Music was used to bond the main characters, as it does so much in real life. Riley, an amateur musician, sings little off-the-cuff ditties to Natalie in order to woo her, and she is constantly amused by his willingness to expose his 90s pop ‘fanboying’.
I’m now writing my second book. It’s called The Vintage Guide to Love and Romance (published June 2014 with Pan Macmillan) and is the first in a series. One of the central characters, Matilda Beam, is a 77-year-old writer who can’t let go of her 1950s glory days. When my protagonist, Jess, meets Matilda, she’s sitting in a grand, cluttered room, listening to a Bobby Helms record on repeat. I find the melodies of most of his songs melancholy and the hefty reverb used on his voice makes it sound otherwordly and creepy. I wanted to provide a soundtrack for the scene that would give the audience an immediate insight into Matilda’s state of mind and also to freak out the thoroughly modern and lively Jess.
I have a dedicated Spotify playlist for The Vintage Guide to Love and Romance. These are the songs I’ve listened to in order to connect with characters and emotions, or to help me get to the ambience of a scene more clearly. The most often played tracks on there are:
End of the World (Skeeter Davis): Hauntingly beautiful, lonely and lost. A soundtrack for Matilda Beam in 2013.
Sophisticated Lady (Rosemary Clooney, Duke Ellington): Sultry and smoky, this song perfectly embodied the young Matilda Beam as a socialite and writer in the 50s. When I listen to this, I think of her being spun across the dance floor at some fabulous New York party.
Wishin’ and Hopin’ (Ani Difranco): I saw a tongue in cheek video for this song on the opening credits to My Best Friend’s Wedding and it mirrors the way Matilda Beam believes women ought to behave in order to find love. Its ludicrousness always makes me laugh and Ani Difranco’s raspy voice sounds so damn sexy in it.
This Can’t Be Love (Stacey Kent): The main romantic relationship in The Vintage Guide to Love and Romance is kind of screwball in nature with fast dialogue, disagreements and a touch of slapstick. This charming little song always puts me in mind of that.
Up All Night (Best Coast): I don’t know much about this band, but I stumbled upon this song on YouTube before I began work on the book and immediately felt it was a perfect fit for the character of Jessica Beam. It’s bursting with youthful longing and excess. I listen to this on repeat before working on emotionally charged Jess scenes.
And there you have my Undercover Soundtrack. Thanks so much for having me, Roz!
Kirsty Greenwood is an author of comedy romances, founding editor of Novelicious.com and director of the Novelicious Books imprint. She likes American TV, green clothes, Point Horror, Kristen Wiig and funny stories. She doesn’t like the Ironside theme tune or the phrase ‘nom, nom, nom’. Yours Truly is out now (Pan Macmillan). Find her on Facebook and tweet her on @Kirstybooks
Ani Difranco, authors, Best Coast, Bobby Helms, Boogie Woogie, Carole King, classical music, Color Me Badd, contemporary fiction, Danny Elfman, Desert Island Discs, drama, Duke Ellington, Eddi Reader, Ella Fitzgerald, entertainment, Fairground Attraction, George Fenton, George Gershwin, Grease 2, Hans Zimmer, Ironside, Jeff Buckley, John Grant, Kirsty Greenwood, Matilda Beam, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nora Ephron, Novelicious, Pan Macmillan, Phoenix, playlist for writers, Point Horror, romance, romcom, Rosemary Clooney, Roz Morris, Rufus Wainwright, Skeeter Davis, soundtrack, Stacey Kent, Stevie Wonder, The Andrews Sisters, The Undercover Soundtrack, Toni Braxton, undercover soundtrack, Women Writers, writers, writing, writing to music, Yours Truly
My guest this week says that for the first part of her life, performing music was everything to her. She spent most of her teenage years singing two-part harmony with her sisters and was set for a career in music when a bout of depression wiped out her desire to perform. During her recovery she began to write romantic comedy, which seemed a natural way to use her awareness of pacing, rhythm, texture and emotion, those innate senses that help us master the reader’s experience. Now she uses music for companionship while she writes and to put her into a creative state of mind. She is Kirsty Greenwood, romantic novelist and founder of the site Novelicious, and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, depression, Desert Island Discs, drama, entertainment, Kirsty Greenwood, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Novelicious, performing, playlist for writers, Point Horror, romantic comedy, Roz Morris, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music
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 novelist and Talking Writing columnist David Biddle @dcbiddle
My novel, Beyond the Will of God, is about many things: murder; rural Missouri in the heart of the summer; odd conspiracy theories; altered states of consciousness; and the realities of telepathy. Most importantly, though, this book is about the power of music and its connection to creativity, and what ultimately lies beyond death.
The story begins as a murder mystery, but very early on the reader is confronted with the realization that there may be a sort of magic to music that we don’t understand — rock ’n’ roll music in particular. Understanding that magic is the real mystery of the book.
The idea came to me when I was 17 and had just discovered the sorcery of Jimi Hendrix’s guitar work. The first time I heard his masterpiece, 1983…(A Merman I Should Turn to Be), I became convinced that Hendrix had discovered a way to channel and tune human thought to a unified vibration. The title for my novel comes from a phrase in this song.
I wouldn’t start writing, though, for another 15 years. New Year’s Day 1990, I was listening to a radio special on Elvis Presley’s early career. Strains of acoustic guitar started up. A voice-over told us That’s Alright Mama was Elvis’s first hit. As I listened to The King of rock ’n’ roll, I saw a bar full of hard-drinking young people in rural Missouri listening to his first hit song, and an Amish boy sneaking in the back. I began to write. That work became the scene that is now in the middle of chapter one, ending with two characters lost in dark farm country hearing strange guitar music on the wind.
I knew the story was a mystery-thriller, but it would also be about the power of sonic vibration of all kinds. The untimely deaths of so many great musicians and personalities in the 20th century would become the center of the plot I was concocting.
Whether we know it or not, our thoughts are connected to all the sound in our lives. One song I kept coming back to that helped me meld the CIA with the hippie search for ‘higher consciousness’ was The Beatles’ Tomorrow Never Knows. Even today, almost 50 years after it was recorded, the use of tape loops, sitar, non-standard rhythm, and Lennon’s lyrics can crack open the most stodgy artist’s mind.
Over time, as I wrote, I listened endlessly to music by artists who, like Jimi and Elvis, had all died before their time – Jim Morrison, John Lennon, Jerry Garcia, Jim Croce, etc. Blues legend Robert Johnson’s story of selling his soul to the devil is where the black magic of rock ’n’ roll got its start. He died at the age of 27. In the classic Come On In My Kitchen he is haunting and mystical. Johnson has an important part to play in Beyond the Will of God.
Ideas of immortality
In the spring of 1997, I read about a singer and musician I’d never heard of before named Jeff Buckley. He’d just drowned in a channel of the Mississippi River in Memphis, Tennessee. As I read, it became obvious Buckley was important to my story. His highly regarded album, Grace, was a smorgasbord of new music inspiration. Last Goodbye is my favorite song, but the title track, Grace, speaks directly to the ethos of Beyond the Will of God. It is dark, swooning, and ponders the idea of immortality. The first draft would be completed shortly after discovering Buckley.
But I wouldn’t have been able to edit and re-write my first draft it if I hadn’t found the rather esoteric album, Sushilove Sessions, by the world beat-improvisational jazz combo Global Illage. There are no easily accessible renditions of Sushilove Sessions online, but check out this recent recording by two of the group’s musicians, talented drummer, Jim Hamilton, and guitarist extraordinaire, Tim Motzer. Here they are, recorded in the spring of 2013, improvising the composition As Real As Life.
I listened to Global Illage non-stop every night for 23 days doing the final re-write of Beyond the Will of God. It went from 450 pages down to 350. Sex, drugs, (metaphysics), and rock ’n’ roll all wrapped up in a murder mystery.
Along with his novel Beyond the Will of God, David Biddle has published two collections of short stories: Trying to Care (2011) and Implosions of America (2012). He has been writing professionally for over 30 years, publishing articles and essays in the likes of Harvard Business Review, The Philadelphia Inquirer, In Business, Huffington Post, Kotori Magazine, and BioCycle. He writes the ‘Talking Indie’ column at the online magazine Talking Writing. You can track him down at http://davidbiddle.net. Tweet to him as @dcbiddle
authors, Beyond the Will of God, Biocycle, David Biddle, Desert Island Discs, drama, Elvis, Elvis Presley, entertainment, Global Illage, Harvard Business Review, Huffington Post, In Business, Jeff Buckley, Jerry Garcia, Jim Croce, Jim Morrison, Jimi Hendrix, John Lennon, Kotori Magazine, Last Goodbye, male writers, middle, Missouri, murder mystery, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, psychedelia consciousnesses, Robert Johnson, rock ’n’ roll music, rock n roll, Roz Morris, The Beatles, The Philadelphia Inquirer, The Undercover Soundtrack, undercover soundtrack, writers, writing, writing to music
Music, dead rock gods, psychedelia consciousnesses and the CIA – this novel definitely had to feature on the Undercover Soundtrack. Its title came from a Jimi Hendrix song, and germinated when the writer was just 17 years old. It took him another 15 years to write, though, when an Elvis track kicked his imagination and gave him a vivid scene set in a bar in rural Missouri. The novel is Beyond the Will of God, the writer is Talking Writing columnist David Biddle, and he’ll be here on Wednesday with his Undercover Soundtrack.
authors, Beyond the Will of God, David Biddle, dead rock gods, Desert Island Discs, drama, entertainment, Jimi Hendrix, male writers, Missouri, murder mystery, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, psychedelia consciousnesses, Roz Morris, Talking Writing, the CIA, The Undercover Soundtrack, thriller, undercover soundtrack, writers, writing, writing to music
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 journalist and novelist Catriona Troth @L1bCat
My novel, Ghost Town, is set in Coventry and Brixton in 1981. Around that time, young musicians from different communities were developing styles of music that melded sounds from their cultural roots with modern pop, and writing lyrics that expressed their anger and discontent. The music they produced played a vital part in taking me back to those times and in helping me identify with characters from three different communities.
Coventry in 1981 was the city of 2 Tone Records and Ska; it was also a city riven by conflict between skinheads and young Asians. The 2 Tone sound was essential to the atmosphere I wanted to create.
Ska has its origins in the West Indies, but by the time it stormed Britain in the late 1970s and 1980s, it had a flavour all its own. The line-up of the bands on Coventry’s 2 Tone label – like The Specials and The Selecter – were a mix a black and white musicians, and the message of their songs was often explicitly anti-racist.
One of the characteristics of the 2 Tone sound was the use of a horn section, epitomised by Rico Rodriguez’s wailing trombone sole at the start of The Specials’ Ghost Town – surely one of the most haunting openings to a pop song ever written. Ghost Town inspired not only the title of my novel but underpins much of its mood.
That was the day that The Specials released Ghost Town. For days it keened from every radio, every jukebox, every stereo. Those stabbing horns and that eerie, wailing chorus became the soundtrack of their deaths.
Equally poignant is the voice of Pauline Black, lead singer of The Selecter. Black’s voice slides from contralto (in Three Minute Hero) to soprano (in On My Radio) – dark and light all in one unforgettable package.
Tracks like these helped me to unlock memories and recapture the feel of those troubled times.
Down in Brixton, the defining sound for the young Black community was reggae. If 2 Tone drew me back into my own past, then reggae opened a doorway into a different world. Like most people, I knew a few Bob Marley tracks, but in writing the book, I explored others like Barrington Levy’s Shaolin Temple and King Tubby’s Flag Dub.
Most of the rioters had slipped away through the alleyways, back into the maze-like estates beyond. Behind the blank façade of the night, the sound of reggae spilt into the air. Brixton was celebrating.
At the same time, dub poets like Linton Kwesi Johnson were performing live to a reggae backing beat. Highly political lyrics written in Jamaican dialect (such as LKJ’s New Crass Massahkah) capture the fury that led to the Brixton riots in a way that no amount of reportage could possibly convey.
Back in Coventry, the third element of my story lay among young British Asians, many of whom arrived in Coventry as children when their parents were expelled from East Africa.
Many young Asians identified with the 2 Tone sound, but they were also developing a sound of their own. It would be another two years before the first Bhangra records were pressed, but meanwhile, local bands were experimenting with blending the traditional sound of instruments like the dohl (drum) and the single-stringed tumbi with Western pop.
Most of us are familiar with Bhangra music now from films like Bend It Like Beckham and Slumdog Millionaire, but back then it was new, exciting and a little bit dangerous. Fans were known to gatecrash weddings where the best bands were playing.
The stringed instrument opened by twanging out a melody and was answered by the seductive beat of the drum. The singer threw back his head and produced an ululating sound that formed a contrapuntal beat. The other instruments joined in one by one, weaving between the two rhythms … Feet tapped and bodies began to sway. A circle of dancers formed, energetic and sinuous –hands clapping, wrists twisting and shoulders shaking.
Those early bands were unrecorded, but you can catch something of their feel from listening to the earliest Bhangra stars, such as Malkit Singh, on Putt Sardaran Da or Alaap with Heera Group UK on Chamm Chamm Nachdi.
Listening to these three styles of music helped me get under the skin of the different characters, to absorb something of their rhythms and to switch from one ‘mode’ into another as I moved from scene to scene.
Catriona Troth is the author of the novella, Gift of the Raven and the novel Ghost Town. She is a former researcher turned freelance writer and a regular contributor to Words with Jam magazine, and a proud member of the Triskele Books author collective. Find her on Twitter as @L1bCat and on her blog/webpage at CatrionaTroth.com.
1981, 2 Tone Records, Alaap with Heera Group UK, authors, Barrington Levy, Bend It Like Beckham, Bhangra, Bhangra music, Bob Marley, Brixton, Brixton riots, Catriona Troth, Coventry, Desert Island Discs, drama, entertainment, Ghost Town, Heera Group UK, hits in 1981, King Tubby, Linton Kwesi Johnson, Malkit Singh, music for writers, music for writing, music of 1981, My Memories of a Future Life, Nail Your Novel, playlist for writers, race riots, racial tension, reggae, Rico Rodriguez, Roz Morris, Shaolin Temple, Slumdog Millionaire, soundtrack, The Selecter, The Specials, The Undercover Soundtrack, Triskele Books, undercover soundtrack, Women Writers, Words with JAM, writers, writing, writing to music
Coventry and Brixton in the 1980s. My guest this week has drawn on reggae and the music of the iconic Two Tone label to evoke cities riven by racial conflict. Music was a strong part of identity and hers is a soundtrack of jagged horns and simmering beats. Her novel’s title echoes one of Two Tone’s landmark tracks – Ghost Town, by The Specials. If you know it, I bet it’s started in your head – and hold that thought, because she returned to the track time and again to capture her characters’ tensions. She is Catriona Troth and she’ll be here on Wednesday with her Undercover Soundtrack.
1980s, 1981, authors, Brixton, Catriona Troth, Coventry, Desert Island Discs, drama, entertainment, Ghost Town, hits of 1981, London, music, music for writers, music for writing, music of 1981, My Memories of a Future Life, Nail Your Novel, number 1 in 1981, playlist for writers, racial conflict, reggae, Roz Morris, ska, The Undercover Soundtrack, Triskele Books, trombones, Two Tone, Two Tone label, undercover soundtrack, Women Writers, Words with JAM, writers, writing, writing to music
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 Southern Gothic literary novelist Dave Newell @davenewell
Can music make a writer a better writer?
I grew up in South Carolina so my literary diet consists of the great Southern Gothic writers like Flannery O’Connor, Edgar Allan Poe, Truman Capote, and Tennessee Williams. In addition, local storytellers with little name recognition outside of their own counties introduced me to unique styles. Horrific stories told beautifully are nothing new to me; they’re what I grew up hearing and how I thought storytelling was meant to be.
When I was in elementary school my parents signed me up for ten years of ill-fated piano lessons. Sure, I didn’t miss a lesson, but very little came of those years in terms of musical skill. However, I did learn the importance of the metronome – a steady guide and constant companion that helped me stay as consistent as I was able to. It afforded me the ability to concentrate on other tasks instead of focusing solely on rhythm. I was able to focus on the position of my hands and recall what my teacher had reminded me of. In terms of writing, music is my metronome.
Writers have to perform an incredible amount of mental gymnastics in very tight spaces. Some of the writing comes naturally while much of it is learned and then mastered through practice. For brainstorming I listen to music with lyrics, but when writing I need a guide to pull along my voice, which comes naturally, while I concentrate on practicing what doesn’t – new sentence structures and world-building.
Conspiracy, calm and bitter tension
When writing my book Red Lory I created a small 1950’s town and centered the story on Dr Douglas Howard and the wife of a patient, Mrs King. Her wealthy husband owns a very profitable department store, but his health took a surprising dive, leaving him incapacitated and in a coma-like trance. She appears to be giving up on him in favor of making plans to marry Dr. Howard, who happens to be struggling financially. Many of the scenes take place in the Kings’ library where the doctor and Mrs. King spend hours while her husband fights for his life upstairs in his bedroom.
Theirs is a strange world – a complex environment of conspiracy, calm, and bitter sexual tension. I needed something to keep me in that world, so I went back to the classics. Beethoven’s Moonlight Sonata, a song Mrs King plays on the library piano, became invaluable. I also looped Olafur Arnalds’ album Living Room Songs, using it as my metronome to carry my voice while I concentrated on other things.
Since it was published the book has been produced as an audiobook and is being adapted into a movie. Both producers have remarked on how cinematic the story is, and I owe much of that to the music I listened to. A strong soundtrack helps me paint the story with a finer brush and more vibrant colors.
Music isn’t just something I use to allow my voice to carry on and remain consistent; it’s also something I learn from. Songwriters tell stories; they just pack it differently than novelists do. Thayer Sarrano’s Quiet Now Your Bones changed my perception of what’s expected of me as a writer. It’s a lonesome song that puts me under a spell I don’t dare break.
I often associate page-turners with action-packed stories where the turning points are easily identified, and the tension rings the doorbell instead of sneaking up on you. I like to think that I’ve learned how to write tension into a story like she does with her songwriting. By nature of the Southern Gothic genre, readers are expecting strong doses of tension to show up in my stories, and I’m happy to oblige. However, I don’t want my tension to waltz up to the front door and announce itself. I want it – without the reader realizing – to have been sitting beside them the whole time, turning the pages.
Listen for the stories
To me music is something more than background noise. Each, with or without lyrics, is a carefully crafted story. Both Sarrano and Arnalds construct songs with heavy amounts of friction disguised by beautiful melodies. Listen for the stories the artists are trying to tell. Those stories, although kept in the invisible binding of digital formats, are page turners that bring us into their world and teach all along the way.
Dave Newell was born and raised in the Midlands of South Carolina. After graduating in 2007 with a bachelor’s degree in Broadcast Journalism, he moved to Greenville, South Carolina where he currently lives with his family. Red Lory is his first novel. Find him online at davenewell.net and on Twitter at @davenewell.
authors, Ólafur Arnalds, Beethoven, contemporary fiction, Dave Newell, Desert Island Discs, Douglas Howard, drama, Edgar Allan Poe, entertainment, Flannery O’Connor, literary fiction, literary novels, literature, male writers, Moonlight Sonata, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Red Lory, Roz Morris, South Carolina, Southern Gothic, Southern Gothic literary, storytellers, Tennessee Williams, Thayer Sarrano, The Undercover Soundtrack, Truman Capote, undercover soundtrack, voice, writers, writing, writing to music
I’m delighted that this week’s guest has included Olafur Arnalds’s album Living Room Songs in his Soundtrack. I discovered it from another guest here, and it got me like a snakecharmer’s pipe. While I’ve been mainlining it to brainstorm The Mountains Novel, my latest guest has been using it to create an environment of conspiracy, calm and sexual tension for his novel Red Lory. He says he puts music on to act as a metronome, guiding his voice while he concentrates on the sentence formation and world-building. He’s also inspired by the way songwriters pack so much into a tight space, which drives him to make his prose more vibrant and potent. He is literary novelist Dave Newell and he’ll be here on Wednesday with his Undercover Soundtrack.
authors, Ólafur Arnalds, contemporary fiction, Dave Newell, Desert Island Discs, drama, entertainment, literary fiction, literary novels, literature, Living Room Songs, male writers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Red Lory, Roz Morris, snakecharmer, The Mountains Novel, The Undercover Soundtrack, undercover soundtrack, writers, writing, 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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- All content copyright Roz Morris 2011, 2012, 2013. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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- PR value, also an attempt to make publishing decisions feel more systematic and scientific #etherissue @porter_anderson 13 hours ago
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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 writing 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'