- Roz’s blog
- THE NOVEL
- Who’s Roz?
Posts Tagged London
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 Yasmin Selena Butt @YasminSelena
Soundtrack by Jeff Buckley, Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine-Inch Nails, Skunk Anansie, Garbage, Portishead, The Cure, Interpol, Cocteau Twins, Editors
If I hadn’t have become a novelist with a 36G chest, I would have been a rock star. I’m serious. You try learning electric guitar when you can’t see the strings, it’s dead tricky. Music is huge for me, HUGE. When I was 15, I made a decision not to live abroad because you couldn’t buy Smash Hits in Pakistan. Music back then was the only thing keeping me alive. It fuelled me. I couldn’t risk losing it.
It was a huge, creative fuel when penning my debut, Gunshot Glitter. The title might be familiar to you if you’re a fan of the singer, Jeff Buckley. If you’re not, it was a bonus track released on his posthumous album Sketches for my Sweetheart the Drunk. I loved the song, and, if I’m honest loved the title more. The song itself is lo-fi, distorted, wobbly but utterly impassioned.
Crime drama morality tale
In my novel, Gunshot Glitter is the name of an infamous London burlesque club. How would I describe the story? It’s the genre-bending story of an incinerated boy who never quite goes away; a morality tale, broadly a crime drama. I was thrilled it was shortlisted as a self-published read by The Guardian last year, along with the tome of my kind blog host Roz Morris. (Thanks! – Ed)
This year, I hope to give it the launch it deserves. It hasn’t had that yet for good reasons. Last year, I almost died of anaphylactic shock at a club on the launch of the print edition. It was a surreal way to discover you now possess a lethal shellfish and nut allergy. This year I hope to do the novel justice.
While writing it, I used mainly alternative music as a fuel to take me to the places where the characters go, especially Celine, the protagonist. And some of the songs I played also feature in the novel. When I listened to them, I got so immersed in the music, the songs become little stories within themselves, almost like an operetta with tragedy and pathos in spades running riot in my head. I made two CD compilations ‘Black Glitter’ and ‘Angry Glitter,’ depending on where I needed to go creatively, each featuring 18 songs. Black Glitter was achingly emotional, gut wrenching and tender.
Bands featured on Angry Glitter included Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine Inch Nails, Skunk Anansie. Garbage’s Vow from their debut album is amazingly powerful. I played this song literally on repeat when writing some of Celine’s pivotal scenes when she made some of the darkest decisions of her young life. Portishead’s incredibly sexy Strangers ended up featuring in a bittersweet memory for Cornelia:
She had been obsessed with Strangers with its melody full of dark, sexy suggestion. It turned her on. She even choreographed an examination piece to it. Cornelia put it on and, when it kicked in with its sleazy, dark electronic riff, she winced. Now she hated it. It reminded her of all she’d lost. It’s just music, she said fiercely through gritted teeth, ‘just music!’ Music could never punish her like her own guilt could.
The Cure is a band that bonds lovers Anis and Celine. I played Disintegration heavily when writing their more intense scenes. And Interpol’s Narc rears its head in the aftermath of their sex, like a shadow in the background on the wall. Other songs such as Blind, Dumb Deaf by The Cocteau Twins, was just powerful, no intelligible words as Liz Fraser doesn’t use them, but you can’t help but feel a strong sense of foreboding when you hear it, and, when I was getting inside protagonist’s Cornelia Friend’s twisted head this track made me think of her. It made me think of someone splintering on the inside, as did Editor’s Munich.
There is a darkness, intensity, danger, sorrow, passion and fury that dominates the music that literally leaches out onto the pages. When you have great music, fuelling your fingertips, you’re almost obliged to create an impressive result to justify the privilege of what you’re listening to.
When you read the behemoth or listen to the soundtrack, I’ll let your ears and eyes decide if the fifteen year old girl who grew up to write that novel, made the right call to coming home to grow up in London. I hope you believe that she did.
Yasmin Selena Butt was born and lives in London. She has worked in the Maldives as an English language trainer, freelanced in marketing and been published by The Times as a music writer. She has also written over a thousand poems, exhibited her fiction and photography and performed her debut reading at Proud Galleries in Camden. She adopted ‘Selena’ as her middle name in 2000, after meeting a concierge who told her the story of the naming of his own daughter, Yasmin Selena. She has since repaid the favour by naming a character in Gunshot Glitter after him. Gunshot Glitter is available from Amazon, Kobo and Smashwords and in print from her website. Tweet her as @YasminSelena
authors, Black Glitter, burlesque, Cocteau Twins, contemporary fiction, crime fiction, crime novelist, crime novels, Death in Vegas, Desert Island Discs, drama, Editors, entertainment, Facebook, Garbage, Gunshot Glitter, Interpol, Jeff Buckley, London, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, near-death experience, Nine Inch Nails, PiL, playlist for writers, Portishead, rock star, Roz Morris, Skunk Anansie, Smashing Pumpkins, The Cure, The Pixies, The Smashing Pumpkins, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music, Yasmin Selena Butt
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 Denise Kahn @DKpolyglot
My very first memory of life was the sound of my mother’s glorious voice singing to me, most likely a Brahms lullaby. I’m convinced that is why music always has a delicious way of creeping into my writing, and becomes one of the most important elements. I find that music is almost synonymous with being in a state of trance, and that is how I become when I write. I get very focused, and live the scenes with my characters. As each mise en scène blooms music envelopes my mind with a melisma, or a melody that already exists.
I wrote my book Peace of Music for my son, so that he could have the story of his ancestral family. It became a novel (much more fun that way) as I could take a few liberties, such as the scenes in China’s 13th century Song (what else?) Dynasty. One of the scenes is of a blind potter who is commissioned by Quan Yin, his Goddess, to make a special vase, but he doesn’t know how. Chinese Gugin music was the key to the scene.
…From the back of See-Fu’s house a soft melody rang out. It came from Lotus Blossom’s room. Her long delicate fingers plucked her qin. Her performance was ethereal See-Fu thought, a combination of earth’s gentleness and mysteries of the night. Every once in a while Lotus Blossom accompanied the harmonics with a song, an ancient love poem. See-Fu felt his entire body mellow as his daughter’s voice reminded him of birds, and the melody painted the portrait of nature’s beauty where they had collected his ingredients. He smiled triumphantly and delicately touched the statue of his Goddess. He now knew. He remembered Quan Yin’s guidance: “When the music is played, your heart will be your eyes.”
While about 10 percent is fiction (like China), the rest is fact, and since the characters/family members were opera singers and concert pianists I thought their stories would make a good novel. My tag line is ‘Spreading the Power of Music through Words’, and in this book music proves how it can unite and keep people together and strong, especially in difficult circumstances. Throughout the book, music is the glue that keeps this family saga together. One of my favorite scenes takes place on Christmas Eve during WWI, the true ‘silent night’ of that horrific war. The only sounds were that of soldiers, from both sides, singing Christmas carols together, all started by two brilliant tenors, one German, the other French.
The second book that I published was Split-Second Lifetime. I was visiting some friends in New Mexico. We went to see some Native American dancers and I was mesmerized by their throat singing—a very unique form of song. I did some research, and found that the only other people that sing that way are the indigenous people of Tuva, in eastern Siberia. I also saw this attractive woman, in jeans and jacket, standing very regal. As I watched her she suddenly morphed into an elegant mountain lioness. And then I saw the entire story, frame by frame, as if playing on an old moviola, all of it surrounded by the music in the background. This is what came out of that moment in time:
The main protagonist (Jebby) is an ethnomusicologist, who roams the world recording indigenous music. On a plane to her next destination she meets her seat mate (Dodi), who seems to trigger past life memories from the old American Southwest. As they travel through Uzbekistan, Jebby realizes that in a past lifetime they were man and wife as members of the Hopi tribe. As she encounters some magnificent musicians each one seems to give her a new ‘clue’, or vision, into that past life.
The book is filled with scenes of music and musicians: Nana Mouskouri at the Royal Albert Hall in London; an Uzbek, with a horrible English accent, trying to imitate Bruce Springsteen’s Born in the USA, while traveling in the middle of a desert; traditional and modern Uzbek music; and even elements of Rumi in a Dervish ceremony.
I journey with the protagonists on their voyage, as they discover the beauty of other cultures and their musical traditions. It is food for my passion and my senses, as it travels down to my fingers on the keyboard.
Denise Kahn spent 20 years in Europe because of her father, who was with the US Diplomatic Corps, and her mother who was an opera singer. She worked mainly as a simultaneous interpreter and translator as she is a linguist and speaks several languages, five of which are fluent. Because of her exposure to people of different nations her writing includes many foreign settings and cultures. She is a proud mother of a gallant Marine who served in Iraq, and among the members of her household is Louie the cat, so named because of his clawing love of Louis XV and XVI furniture, and surely thinks he must have been a fearless Marine in one of his former lives. Her books are here, her website is here and you can find her on Twitter as @DKpolyglot
authors, Brahms, Bruce Springsteen, China, Chinese Guqin music, Christmas Eve, Christmas Eve WWI, contemporary fiction, Denise Kahn, Desert Island Discs, entertainment, ethnomusicology, London, Lotus Blossom, music, music for writers, music for writing, musicians, musicology, My Memories of a Future Life, Nail Your Novel, Nana Mouskouri, opera, opera singer, Peace of Music, playlist for writers, Quan Yin, reincarnation, romance, Royal Albert Hall, Roz Morris, Sacred Spirit - Yeha Noha, Split-Second Lifetime, The Undercover Soundtrack, throat singers, undercover soundtrack, Wagner, Walter Kirchoff, Women Writers, World War I, writers, writing, writing to music, WWI
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 Polly Courtney @PollyCourtney
It might seem odd that a book called Feral Youth was inspired by classical music. But despite its title, Feral Youth is not just about a disenfranchised young person living on the fringes of society. More, it is about the relationship between that young person – Alesha, 15, alcoholic mother, unknown father – and Miss Merfield: a middle-class piano teacher with an alternative outlook on life and a love of tea and Chopin. It’s about two cultures colliding and the mark that each leaves on the other.
As you might have guessed, my background is more akin to that of Miss Merfield’s than to Alesha’s. I grew up on classical music, playing piano and violin and performing in shows and concerts all through my teenage years. I’m still part of the semi-professional string quartet that plays at venues up and down the UK. But it was my piano lessons in the early years that lodged in my mind and planted the seed for Feral Youth.
Back to that rickety piano stool
Debussy’s Doctor Gradus ad Parnassum was one of the final pieces I learned to play. My piano teacher was an elderly lady, much older than the youthful Miss Merfield but with a strong, forceful manner and a kindly streak. When I hear Debussy, I think of Mrs Luton-Brain (yes, that was her name – ‘Luton where they make the hats, brains for putting under them!’) and I imagine myself back on that old, rickety double stool, filled with a mixture of fear and intrigue as my fingers tripped up and down the keys. Although Alesha’s piano lessons with Miss Merfield were short-lived and took place long before the summer in which Feral Youth is set, they were instrumental in developing the relationship between the characters and I used Debussy to send me back to that place and remind myself of what it felt like, sitting next to Mrs Luton-Brain in that stuffy room.
Key to angst
I also used music to unlock emotions as I wrote. Alesha is an angry character, full of angst at the way she is persecuted by those in power, ignored by those who should care and cheated by those she thought she could trust. I began by listening to grime. Grime is a relatively new genre that grew out of the east London garage/hip-hop scene. Two years ago, I hadn’t even heard of it but as I got deeper and deeper into my research, I heard it oozing from car stereos on the estates, rattling youth club windows and whirring from tinny speakers on phones. Imagine a beat that is so low, slow and dirty you can feel your teeth vibrating in your skull. The wax in your ears starts to shift and it almost hurts to listen, but somehow you keep listening because the juddering, creaking beat draws you in. Here’s a DJ Dice sub-low mix that I used to get myself back to where some of the scenes are set.
In the early stages of writing, I was sketching the outline for Feral Youth on a bunch of Post-it notes and something didn’t feel right. There wasn’t enough of a bond between my two main characters. I realised that something had to have happened between Alesha and Miss Merfield in order for them to behave in the way I envisaged during the book. I was listening to the radio one morning when Wagner’s Ride of the Valkyries came on. I turned it up loud. This is one piece that’s guaranteed to set off a swirling cocktail of emotions in anyone. I could feel it surging through me, washing away my frustrations and replacing them with something jubilant and powerful. It was this ‘rinsing’ effect that gave me what turned out to be an important insight into the relationship between Alesha and Miss Merfield. There had to have been a shared experience that bonded them… and I’d just worked out what it was.
We stayed on the floor for the rest of that lesson, like a couple of crazies, staring up at the ceiling as the music crashed and blasted around us. I never told Miss Merfield this, but while we was lying there it felt like some of my anger was leaking out. It wasn’t like proper crying. It was just hotness and tears and this weird lightness coming over me – in a good way. It’s hard to explain. Anyway, that’s why it don’t feel right to be thieving off Miss Merfield right now.
I may have committed a literary cardinal sin by making a movie-style trailer for Feral Youth in which I use some of this music – including the Wagner – to try and transport readers to the place I was in when I wrote it. Perhaps that’s an impossible ambition; I suspect that the links between writing, memories and music can never be transplanted from one person to another. All I know is that for me, music was the vehicle that took me back (and forward, and sideways) and that without it, I’m not sure Miss Merfield and Alesha might have ever met.
Polly Courtney is the author of six novels and a regular commentator on TV and radio. She made her name with debut novel Golden Handcuffs, a semi-autobiographical account of life in the Square Mile. In late 2011, on the publication of her fifth novel, Courtney walked out on her publisher, HarperCollins, frustrated by the ‘chick lit’ titles and covers assigned to her books. She went on to self-publish Feral Youth, which delves into the frustrations that led to the summer riots. Here website is here, and you can follow her on Twitter as @PollyCourtney.
authors, classical music, contemporary fiction, Debussy, Desert Island Discs, DJ Dice, drama, east London, entertainment, Feral Youth, garage, grime, hip-hop, London, London riots, Miss Merfield, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, pianists, playlist for writers, Polly Courtney, Roz Morris, The Undercover Soundtrack, undercover soundtrack, Wagner, Women Writers, 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 debut author Barry Walsh @BJWalsh
Soundtrack by Neil Young, Handel, Beniamino Gigli, Bob Dylan, the Beatles, the Marvellettes, Rod Stewart, Adele, Flanagan & Allen, Mozart, JS Bach, Hildegard von Bingen, Beethoven, Dexy’s Midnight Runners
The Pimlico Kid is about first-love, which can quarry a hollow in one’s life that is hard to fill. It’s also about kids scrabbling past puberty and slamming into emotional or physical barriers set by adults.
… the most we might have expected to deal with was a first kiss or a dying grandparent, we were undone by love itself, and violence – and that adults betrayed us.
The lyrics of Neil Young’s songs were ever-present in my head while writing the book. For years I had piled up notes from which to make The Pimlico Kid a novel but it was the beautiful reference to childhood friendship and secrets being revealed in Philadelphia that turned intention into action.
The narrator, Billy, unlike some of his friends stands on the solid ground of happy family life. His easy-going father is a hard man and his volatile brother, John, will become one. However, Billy’s father is comfortable revealing his softer side and expresses it in his fine singing. And, when his sons were small, he kidded them he knew Italian and sang his favourite Beniamino Gigli songs, such as Handel’s Ombra mai fu, in beautiful gibberish.
This contrasts with Bob Dylan’s less mellifluous The times they are a changin’ (played loudly enough to shake the house) that defines the rebellious younger brother John, who is yet to discover his softer side:
When he’s asked or told to do something, he has this stiff, chinny look that makes it clear he doesn’t have to comply, but that he will, only on this occasion.
The exhilaration of first attraction is almost always about a face. And it is nailed by the Beatles’s I’ve Just Seen a Face. When Billy falls for Sarah, he worries that his more mature friends will disapprove because she is still flat chested. However, he’s prepared to wait for breasts:
I know that whatever Rooksy says about fabulous flesh, love starts with a face.
A host of songs evoke the summer of 1963 but none more vividly than the Beatles’s She Loves You. Billy and his friends stand transfixed outside a pub from which it is blasting out, again and again. This is the song that vanquishes the old pop music order – along with Brylcreem. When an Elvis song starts up, they leave.
During one of those never-ending summer days of childhood, the loves of four friends – Billy, his best mate, Rooksy, Sarah and Josie collide and magic is conjured up by declarations of love and secrets revealed. The Marvelettes’ When You’re Young and in Love kept popping into my head as I tried to pin down the excitement of new love. The lyrics may be simple but if you are young and in love, they couldn’t be more true.
At a critical moment Billy’s behaves like an idiot in front of Sarah. Burning with shame, he’s surprised to find that it doesn’t affect how she feels for him. This reflects my experience of how often weak and flawed people, usually men, are lucky enough to find someone who loves them anyway. Neil Young ‘gets’ it in Hangin’ on a Limb, in which a man wobbles at the edge of an emotional precipice and a girl teaches him how to dance.
As their relationship grows, the four friends come to learn that love breeds compassion and diminishes judgement of those it’s easy to ridicule, whether it’s because of a birthmark or sexual orientation. In the early sixties there were few openly gay teenagers and a great deal of unthinking homophobia. A decade later, Rod Stewart’s The killing of Georgie helped to change things a little and it came to mind constantly while I struggled to get this issue onto the page.
Adele’s Someone Like You wasn’t a creative influence but, on a more exalted level, it provided creative confirmation of the universal theme that I was trying to make personal. During my fourth re-write, the song was playing every day and everywhere and its reference to glory days of summer goes to the heart of The Pimlico Kid, in which …
love can endure but … promises are hard to keep.
Finally, the streets of London are the main stage for The Pimlico Kid. Maybe it’s Because I’m a Londoner anchors Billy – and me – to the greatest of cities.
I write to classical music, which provides welcome harmony to counter the dissonance in my head. I start most days with Mozart’s String Quintet No 1 because it lifts my default mood of pessimism about finding the right words. Each day features Bach, lots of Gregorian chant and the liturgical songs of Hildegard von Bingen. I regularly work my way through Beethoven’s quartets but stop when I reach No 15, which triggers Wordsworthian ‘thoughts that lie too deep for tears’.
When the writing has gone really well, I celebrate with the Kyrie from Beethoven’s Missa Solemnis, which isn’t at all ‘solemn’. And, when there’s no one else in the house, I turn to Dexy’s Midnight Runners’ Come on Eileen and jig around like mad Ben Gunn on the beach.
Barry Walsh grew up in the heart of London during the 60s and thought belatedly that there might be a story in it. The result is The Pimlico Kid, published by Harper, a story of first love. He is now writing his second novel. When not at the keyboard, Barry enjoys cycling (he once rode non-stop to the top of Mont Ventoux), holidays in France, watching Arsenal, listening to Neil Young and gazing at Audrey Hepburn’s face. He is a proud trustee of the world’s oldest youth club – St Andrew’s, Westminster – and believes that London might just be the centre of the universe. He is married with two daughters. Find him on his website and Twitter @bjwalsh
GIVEAWAY Barry is offering a signed print copy of The Pimlico Kid. For a chance to win, leave a comment here or share this post on Twitter, Facebook, G+ or anywhere else (and don’t forget to leave a note here saying where you shared it).
1960s, 1960s London, Adele, adolescence, authors, Barry Walsh, Beethoven, Beniamino Gigli, Bob Dylan, Desert Island Discs, Dexy’s Midnight Runners, drama, entertainment, first love, Flanagan & Allen, Gregorian chant, Handel, Harper, Hildegard von Bingen, JS Bach, literary novels, London, male writers, Marvellettes, Mozart, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Neil Young, Pimlico, playlist for writers, puberty, Rod Stewart, romance, Roz Morris, The Beatles, The Pimlico Kid, The Undercover Soundtrack, undercover soundtrack, writers, writing, writing to music, young love
When this week’s guest was on his final rewrite, Adele’s Someone Like You was playing from every radio. He says it seemed to reinforce the story he was polishing – a tale of first love, the transition into puberty and the emotional and physical barriers of the adult world. He says he’d been scribbling notes for years, but first felt emboldened to write the novel – based on his childhood memories of 1960s London – when a Neil Young song convinced him he was sitting on a story. He is Barry Walsh, the novel is The Pimlico Kid and he’ll be here on Wednesday talking about its Undercover Soundtrack.
1960s London, authors, Barry Walsh, childhood memories, drama, entertainment, first love, London, male writers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Pimlico, playlist for writers, Roz Morris, The Pimlico Kid, The Undercover Soundtrack, undercover soundtrack, writing to music
Another Soundtracker returns this week, another book under his belt. Andrew Blackman had set himself a steep challenge with his second novel. His story of love in the internet age had seven narrators, each needing their own voice and style. Early feedback from his agent said they weren’t distinct enough, and for a while, Andrew despaired of finding a solution. Then, as he always did in times of trouble, he turned to music. Which saved the day. He’ll be here on Wednesday with the Undercover Soundtrack to his second novel, A Virtual Love.
Andrew Blackman, authors, British writers, contemporary fiction, contemporary novels, Desert Island Discs, different narrators, drama, entertainment, internet love, internet persona, literary fiction, literary novels, literature, London, male writers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, narrative voice, online persona, online world, playlist for writers, Roz Morris, social media, soundtracker, 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?
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011, 2012, 2013, 2014. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
Follow me on TwitterMy Tweets
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
Find something unforgettable
Sign up for my newsletter
- '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'