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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 medieval literature scholar and metaphysical fantasy writer Alice Degan @ajdegan
Soundtrack by Ralph Vaughan Williams, Maddy Prior, Adele, Sarah Slean, Loreena McKennitt, Squirrel Nut Zippers
Before iTunes, making a mix of music to write to used to be this whole ritual. For me it was one of those great para-writing procrastination activities, like buying notebooks or clearing off your desk. I’d want to carefully select a track to go at the beginning of the CD, which served as a kind of invocation to set the mood as I sat down to write. Often this one would be a song that wasn’t musically appropriate to the setting, but had some apposite lyrics, or related thematically somehow. With From All False Doctrine, which I began after I had started migrating my music library onto my computer, things were a bit different. It was easier to create a soundtrack, which deprived the ritual of some of its distracting power, and it wasn’t necessary to select just one track to open with. Several different songs ended up playing that role of invocation.
Adding to the choir
Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis was the track that most often functioned as an entry point. It’s an exquisite piece that embroiders on the melody of one of my favourite hymns. It builds slowly and quietly, but reaches a dramatic climax. Listening to Vaughan Williams’s version calls to mind not so much the exact words of the hymn but its general theme and mood: a feeling of inadequacy in the face of greater powers, and a plea to God for the strength to add my own voice to a great choir. That spoke to me as I approached my writing, and it evoked the concerns of my main characters in their different pursuits.
If it’s the life you feel called to, it’s what you should live. If you’ll pardon the expression.’
‘ “Called. “’ He grinned up at her apologetically. “It implies there’s Someone to do the calling.’
‘It’s just a turn of phrase,’ she said sternly.
From All False Doctrine is set in the 1920s, but jazz music isn’t a major feature of the plot, and didn’t help in its creation either. Of course that’s partly due to my own musical tastes. But it’s also partly because the book is set in Toronto, which was still a fairly conservative city in the ’20s, not a hotbed of the kind of social and artistic innovation that we associate with the decade. A jazz soundtrack wouldn’t quite capture the mood of 1925 Toronto as I understand it. My story centres on the worlds of the university and the Anglican Church. My hero, Kit Underhill, is a young Anglo-Catholic priest in the working-class neighbourhood of Earlscourt, an area populated at the time mostly by English immigrants. Elsa Nordqvist, my heroine, is a classics student who has lost her faith in God but believes passionately in her academic calling.
The words to a number of hymns feature in the story, but I didn’t listen to most of these while writing: they’re songs I know from years in the pews, not from recordings. Jesu, lover of my soul, in Maddy Prior’s atypical rendition, was one I did play while writing, though it doesn’t get a mention in the story. Privately, though, I know that my characters like it: I think of it as expressing something of Kit’s spirituality while at the same time evoking Elsa’s Protestant upbringing.
Then there are songs that evoke just the right mood even though the style and lyrics may have no obvious connection to the story. One of those for this book was Adele’s Set Fire to the Rain, which spoke perfectly of the unhappiness of a secondary character, Harriet Spencer, a charismatic young woman who is abandoned by her fiancé. (Come to think of it, she looks a little bit like Adele, especially in that video!) Sarah Slean’s Society Song evokes something of Elsa’s relationship to propriety: it’s a defiant, upbeat song that made a nice contrast to the more contemplative tracks on my list.
Star of the County Down is the shiftless fiancé’s theme. A classic folk song about a determined suitor, it’s also very close in its tune to another hymn, I heard the voice of Jesus say, so it evokes two aspects of this character for me. I have several recordings, but the one I had on the False Doctrine soundtrack was Loreena McKennitt’s rendition from The Wind That Shakes the Barley.
Finally, because of the turn that the story takes towards the end, the Squirrel Nut Zippers’ Hell made it onto the soundtrack.
He reached for her hands and then stopped. ‘At midnight my soul—whatever that may be—is forfeit to that thing and its Master. Do you think I would hesitate to throw you to him, to save myself?’
‘Yes,’ she said. ‘You are hesitating right now.’
I’m working on a sequel now, and the song I use to get in the mood (this is a slight spoiler) is Sarah Slean’s Angel.
Alice Degan is an academic and novelist who lives in Toronto. She studies and teaches medieval literature, and writes fantasy and something she likes to call metaphysical romance. From All False Doctrine, a supernatural mystery wrapped in a 1920s comedy of manners, is her first published novel. She also has a series of urban fantasy stories involving a collection of misfit otherworldly characters who live above a bakery. You can find her on Twitter as @ajdegan, or on her website.
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The Undercover Soundtrack is a weekly series by writers who use music as part of their creative process – special pieces that have revealed a character to them, or populated a mysterious place, or enlarged a pivotal moment. This week’s post is by Arthurian fantasy novelist Katherine Roberts @ReclusiveMuse
I sometimes wonder if I write fantasy because I listen to folk music with its roots in legend and myth, or if it is the other way around. Whatever came first – the music or the fantasy – I do believe that one feeds the other, and music certainly plays an important part in my books. Well, with a debut novel called Song Quest, what did you expect me to say?
Songs for the dreaming stage
Moving on ten years, and that blend of folk and Celtic music is still very much playing in the background to my work. Even though I don’t actually write to music (I need silence for the words to come out), songs definitely inspire me at the dreaming stage. I love the haunting music of Clannad, which is often used as a soundtrack in the kind of films I enjoy, and I especially love traditional ballads about fairyland, which is not as sweet or innocent a place as most children’s books would have you believe. It was one such ballad – The Elf Knight performed by Steeleye Span from their album Time – that provided the undercover soundtrack to my new Pendragon quartet about King Arthur’s daughter.
Rather like Tam Lin, kidnapped by the fairy queen to pay a seven-yearly tithe to Hell, this ballad is a fairy kidnap story, but with a handsome elf-knight charming away a mortal princess. Unknown to the princess who answers the call of his horn, the elf-knight of the ballad has already slain seven kings’ daughters, and has chosen her as his eighth victim. But the resourceful girl tricks him, waiting until he falls asleep after their lovemaking and then tying him up and stealing his own dagger to take her bloody revenge:
Seven kings’ daughters have you slain here, but the eighth of them has slain you!
Some enchanted isle
In Sword of Light my heroine Rhianna Pendragon has grown up on the enchanted isle of Avalon and is more than capable of turning the tables on any knight, fairy or mortal. But since she is a bit younger than the princess in the ballad, her elf-knight – Lord Avallach’s son, Prince Elphin –is her childhood friend and plays his enchanted harp to help Rhianna defeat her evil cousin Mordred, who has just killed King Arthur in battle at Camlann.
Inspired by the music, I even went so far as to write my own humble ballad for the book, with the verses running through the chapter headings. This is the verse from chapter 1, introducing Rhianna:
A maiden lives in Avalon’s hall,
Her spirit the purest of them all.
Brave of heart and hair aflame,
Mortal damsel with secret name…
Since there are 14 chapters and verses in total, this turned into an editor’s nightmare as Emma Goldhawk at Templar rightly pointed out that younger readers of these books might not enjoy my lazy half-rhymes in the first draft, and made me rewrite them all so they rhymed properly… well, almost. (Sorry Emma – only three more books to go!)
Of course, with Prince Mordred’s greedy eyes on the throne of Camelot, the book also has plenty of battle scenes. For these, I turned to Maddy Prior’s album Lionhearts, which is set rather later than King Arthur in the time of Richard Lionheart and the Crusades, but has an atmospheric track War Games with a background of hoofbeats and the first line, which evoked for me a wonderful image of King Arthur’s knights riding out from Camelot into battle.
So we come to a perfect example of writing feeding back into the music. I discovered Maddy had also produced an album called Arthur the King about a Dark Ages King Arthur, which perfectly fits with the setting for my books. I immediately ordered it, and am looking forward to listening to this new undercover soundtrack as I write the remaining three books in my Pendragon series: Lance of Truth, Crown of Dreams and Grail of Stars.
Clannad have already helped inspire the plot of Book 2 with their album Magical Ring, and I have a feeling I’ll be listening to quite a lot of spiritual music for the final book, so if anyone can recommend a soundtrack to help Rhianna on the final stage of her quest for the Grail, I’d love to hear from you!
Katherine Roberts won the Branford Boase Award for her first children’s novel Song Quest (reissued in paperback by Catnip Books). She is the author of the Seven Fabulous Wonders series, translated into 11 languages worldwide and now available as ebooks for Kindle and the Alexander the Great novel I am the Great Horse. Her new children’s fantasy series about King Arthur’s daughter Rhianna Pendragon is published by Templar with the first book Sword of Light now available in hardcover. Katherine’s website is at www.katherineroberts.co.uk and you can follow Rhianna Pendragon on Twitter at @PendragonGirl. And Katherine herself as @ReclusiveMuse
Arthurian fantasy, authors, Celtic music, Clannad, fantasy, folk music, Katherine Roberts, Maddy Prior, music, music for writers, My Memories of a Future Life, Nail Your Novel, Song Quest, soundtracks, Steeleye Span, Sword of Light, The Undercover Soundtrack, undercover soundtrack, writing to music
- 'Constant murmur of pouring rain, piano chords and a stormy sea'
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- 'Simple, beautiful - gripping'
- 'So original it's in a class of its own'
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- 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'