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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 bestselling historical fiction author Helen Hollick @HelenHollick
The Time : The Golden Age of Piracy – 1716. The Place : The South African Coast to the Caribbean.
Before writing Sea Witch, music was mere background noise. Meeting my pirate, Captain Jesamiah Acorne, changed that. Was this because I went indie, or does Jesamiah require more ‘audio colour’?
Music enhances the mental process of writing. I ‘see’ scenes as if watching a movie; a soundtrack brings them to life. I start with Mike Oldfield. I heard Tubular Bells in 1973 when it was first released. It remains a favourite, only overtaken by subsequent versions. This track is inspiring; it hurls me into the world of imagination. I listen to this when I need to empty my mind and ‘timeslip’ into the past.
Going indie and the pirate route
I went indie after my mainstream publisher dropped my backlist – The Pendragon’s Banner Trilogy : The Kingmaking, Pendragon’s Banner, Shadow of the King, and my novel of the 1066 Battle of Hastings, Harold the King (US title: I Am The Chosen King). My ex-agent also dropping me, strengthened my resolve to self-publish. I had nothing to prove, and being an indie author keeps me in control.
Sea Witch joined my reclaimed novels in print. This was a leap of faith in my ability as a writer, and the popularity of Jesamiah; who doesn’t like pirate adventures? According to publishers, though, pirates are not popular. What about Jack Sparrow? The first Pirates of the Caribbean movie was not intended to be taken seriously, but where were similar adult novels with adult situations? Finding nothing, I gave up the search and wrote the book I wanted to read.
The plot developed while I was on holiday. I had my heroine, Tiola, a healer and a white witch; secondary characters, and the ship, Sea Witch. But not my dashing Captain. I gazed at the sea listening to another Mike Oldfield : Sentinel from Tubular Bells II. And there stood Jesamiah in full pirate regalia. Blue ribbons in his black hair, a gold acorn dangling from his ear. He touched one finger to his hat, nodded. ‘Hello Jesamiah Acorne,’ I said. That track always makes me think of his enigmatic character; quick to laugh, formidable when angry. As skilled with a cutlass as he is in bed. A man who values his freedom, and the woman he loves.
Jesamiah is a treasured friend, although with each voyage I discover more about him. He gets easily into fights, and do not get into a drinking contest with him – he’ll win. He pays too much attention to a pretty face (or the anatomy slightly below the face!) but despite his indiscretions he is devoted to Tiola.
Another Oldfield selection is Weightless Tubular Bells II – for Jesamiah and Tiola to make love to. (Superb Video, although nothing to do with the sea.)
On the sea
I’ve never been on a moving ship and have no idea of nautical matters; instead, I devour O’Brien, Forrester and Julian Stockwin. I use imagination for the swaying of the ship, hear wind in the sails and the creaking of the hull. To be on deck, feeling the rise and dip of her bow as Sea Witch ploughs through the waves. Muse music is Promontory from Last Of The Mohicans … The swaying rhythm and grand majesty of a ship and the sea…
Sea Witch opens with pirates giving chase for a prize. Suitable inspiration for writing fights: Master and Commander. Later, Jesamiah is pursued by pirate hunters. He is injured, and the streets of Cape Town might become his graveyard. Tiola senses his difficulty and must find him before he bleeds to death.
Recovering, Jesamiah realises he is in love, a realisation nudged by a rival for Tiola’s affections. But Jesamiah also has his love of freedom and the sea. With the opportunity to acquire a ship he must make a choice – the ship, or Tiola. The Old Ways by Loreena McKennitt captures that moment when the call of the sea is greater than love.
No spoilers; suffice to say he sails away without Tiola… The question, over and over, in Enigma’s : Why?
Initially, Sea Witch was a stand-alone novel but Jesamiah stole my heart; Pirate Code followed, then Bring It Close, which includes the notorious Blackbeard. One of the delights of writing ‘made up’ novels, as opposed to based-on-fact historical fiction, is the freedom to manipulate true events while remaining plausible. In Bring It Close, Jesamiah masterminded Blackbeard’s demise, but states:
I do not want my name writ in any record book.’
Which is why you will not find him in historical documents.
Back to Sea Witch: The lovers reunite when Jesamiah is again in danger. Tiola rescues him… except this is a chance for Tethys, Goddess of the Sea, to take Jesamiah for her own. Cue Enigma’s I love you, I’ll kill you. Is love more powerful than greed? The final scenes were an emotional conclusion. I put my heart and soul into Sea Witch – it is for those of us who seek escapism, adventure and passion within the pages of a book. A ship glides across a calm sea, sails filled with a following wind. A man stands at the helm: Mike Oldfield Misty Tr3s Lunar.
Helen Hollick lives in Devon, UK and hit the USA Today bestseller list with her novel The Forever Queen. Her full booklist including The Sea Witch Voyages is available here, her website is here, her blog is Of History And Kings, you can also find her on Facebook and on Twitter. Find an even more extensive list of the songs that inspired Jesamiah here.
authors, Avalon Graphics, Bronwen Harrison, Desert Island Discs, drama, Enigma, entertainment, Helen Hollick, historical fiction, Jesamiah Acorne, Loreena McKennitt, Mike Oldfield, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, pirate adventures, pirate fiction, pirate novels, pirate stories, pirates, Pirates of the Caribbean, playlist for writers, Roz Morris, Sea Witch, soundtrack to Last of the Mohicans, soundtrack to Master and Commander, soundtracks, The Undercover Soundtrack, undercover soundtrack, USA Today bestseller, Women Writers, writers, writing, writing to music
My guest this week used to regard music as a mostly-ignorable atmosphere. Then one inspirational moment changed everything. She was listening to Mike Oldfield when a character leaped, fully formed, into her imagination – an enigmatic pirate of the Caribbean, skilled with a cutlass and a roguish smile. This character also proved a turning point in her career, as her agent advised her that the adult readership did not want stories about pirates. But so strong was her conviction about the character that she wrote him anyway – and thus her indie career was born. She is Helen Hollick, her novels are the Sea Witch series, and she’ll be here on Wednesday with her Undercover Soundtrack. All say ‘arrr’.
authors, Desert Island Discs, drama, entertainment, Helen Hollick, inspirational moment, Mike Oldfield, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, pirate adventures, pirate novels, pirates, Pirates of the Caribbean, playlist for writers, romance, Roz Morris, Sea Witch, Sea Witch voyages, 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 my guest is debut science fiction novelist Chele Cooke @CheleCooke
There is a theory that you will never connect more to music than you did as a middle teenager, around age 14 to 16. The theory is that the music we listened to at that age will be the music we always come back to. I don’t know if it’s true for everyone, but it is true for me, and it’s definitely true for writing my first novel, Dead and Buryd.
I’m very particular when it comes to having music on while writing. It has to music I know by heart, otherwise it distracts me. Even when I’m writing in a new place, having something so familiar around me is comforting.
I was about 14 when I began writing in earnest, and at that time, I had just begun listening to Mad Season by Matchbox Twenty. To this day, it is my favourite album. Matchbox Twenty speaks to me in a way no other artist has managed, both with their interesting melodies and their emotion-catching lyrics. I carried that CD with me everywhere, listened to it every day for a month. Still, a month does not go by where I don’t listen to it at least once, and mostly, while I’m writing.
This album lifts me, and as cliché as it sounds, makes me believe that anything is possible. The Technicolour dreams of Black and White People, speaks to exactly that. From the first twang of a chord, I feel happier, and I feel more productive. It’s a song about music lifting you and clearing your head, about how life gets you down but your dreams are far more beautiful than the drab life sometimes handed to us. It is exactly how I feel about my writing. Writing Dead and Buryd is like stepping into that technicolour dream, and each time I listen, this song reminds me of that.
There is a certain element of grunge in Out of Orbit, of which Dead and Buryd is the first instalment. The story revolves around a revolution on a planet with a very hostile environment. There are parts that are gritty and dirty, and nothing is as simple as you’d like it to be. Nothing gets me in mood to write those grungy scenes like Nickelback, another band I listened to as a teenager. These days, it’s their later albums, Dark Horse and Here and Now. The first song of Here and Now, This Means War, is perfect for my characters and plot. The characters are fighting impossible odds and are technologically inferior to their enemy. This Means War really calls out that fire in the characters, knowing that they’ll probably lose, but going at it with all they have anyway.
As a writer, descriptions are very important to me. Getting the right level description in a story brings it alive, and sometimes a few choice words can be better than entire paragraphs. John Mayer is a talented artist who has an incredible affinity for words. He paints entire scenes in a few short lines. This song, 3×5, is from the album Room for Squares. The song is about not wanting to take photographs because he wants to experience the world fully instead of behind a lens. Instead, in writing a letter, he describes the things he is seeing.
In this song Mayer really speaks to my mantra on writing. I have to describe the stories I’ve thought of because I can’t take photographs of them and hand them out. No piece of art will ever truly capture the images in my head, and so I have to describe them instead.
I often listen to John Mayer while editing. I remember that my audience needs to be able to see what I’m thinking. Mayer’s music reminds me just how much you can do. If he can do it in a three-minute song, I can certainly manage it in a novel.
Chele Cooke is the author of Dead and Buryd of the Out of Orbit sci-fi series, which she describes as grungy, character focused, and accessible to readers who don’t usually pick up the genre. Living in London, Chele often dreams that she’s back in San Francisco, where she spent many of her teenage years. Aside from writing, Chele loves immersing herself in television shows, movies, music, cross-stitching, knitting, travelling, and cheese jokes. You can find more about Chele at her website, http://chelecooke.com, on Twitter, Facebook, and Goodreads.
authors, Chele Cooke, Dead and Buryd, description, Desert Island Discs, drama, entertainment, fantasy, grunge, hostile planets, how to write description, John Mayer, Matchbox Twenty, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Nickelback, Out of Orbit, playlist for writers, Roz Morris, science fiction, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music
On the Purple Blog this week there’s a science fiction flavour to my post. And my guest here will continue the theme with the music that helped her write her debut, also sci-fi. She says she uses music to create a consistent space to sink into a book, and for this is must be music she knows by heart. She draws on tracks that have been favourites since she was a teenager because they still make her believe anything is possible – which is a rather excellent way to start the creative day. She is Chele Cooke and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, Chele Cooke, Desert Island Discs, drama, entertainment, fantasy, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, science fiction, teenage songs, teenage years, 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 my guest is attorney-turned aid worker and novelist Ted Oswald @Because_We_Are
Haitian culture is intoxicating, a blend of influences transmuted into something utterly unique and notable. Haitian music is no different.
Serving as the perfect fuel for the writing of my first book, Because We Are: A Novel of Haiti – a murder mystery set against the backdrop of modern-day Port-au-Prince – I often drew upon an amazing library of past and contemporary music for inspiration. Here’s the book’s trailer since it fills in a lot of the back story. For those unable to watch, in 2010, I was a law student and interned in Haiti months after the earthquake. The story is set in the community in which I worked, a notorious slum called Cité Soleil, and follows two unlikely detectives—children: brash Libète and brilliant Jak—as they try to solve the mystery behind a murdered mother and her infant child. But more than that, it’s a story about bigger themes: friendship, the struggle for justice in the face of impunity, sacrifice for the community, faith and doubt in light of tragedy, and the foolishness of scarcity in a world of plenty.
During the drafting and revision stages, completed primarily in the US, I relied upon particular albums and songs to snap me right back to Haiti; to again feel the unrelenting sun baking my skin, to get lost in a sea of spoken Kreyol, to recall hours spent walking vibrant city streets. But beyond a cheap return trip, the music often helped to define my characters and themes.
Special mention is reserved for the track used in my book trailer, a song entitled Nibo. This version is inspired by a piece written by Haitian composer Ludovic Lamothe, the original recording of which was captured by famed ethnomusicologist Alan Lomax during a trip to Haiti. Martha Jean-Claude recorded a version with lyrics in the 70s that immediately captured my imagination. More recently, Nibo has been given new life as a choral piece, Gede Nibo, by composer Sten Kellman. Every time I hear the song’s melody — whether brought to life by a plinking piano or a 40-person acapella ensemble — it powerfully captures the mood, tone, and mystery of Because We Are.
Vodou and rock
But I didn’t just listen to this song on repeat. Konpa is a modern-day mérengue played by prominent Haitian artists like Djakout #1, T-Vice, and sometimes Wyclef Jean (of The Fugees fame). Along with MizikRasin (roots music) which blends folk Vodou elements and rock (of which Boukman Eksperyans is one notable group), acts like these could be heard emanating from countless radios across Port-au-Prince. I was particularly moved by Atis Indepandan’s folk album from the mid-70s called Ki-Sa Pou-N Fe? or What is to be Done?. Listening to any of these strains of Haitian music helped to capture the manic intensity, humor, romance, suffering, piety, resilience, ribaldry, pain, joy, and sadness that so often comingle day-to-day.
Lastly, Because We Are is a story of protest. When volunteering in Cite Soleil, I taught a regular English class for young men using socially-conscious rap and hip-hop songs. Though they weren’t Haitian, artists like Talib Kweli (The Beautiful Struggle), Mos Def (New World Water), and The Roots (Dear God 2.0) capture a view of the world from the bottom up, reflecting the lived experience of my characters Libète and Jak and the young men I taught. I often found myself coming back to these artists and songs for inspiration along the way.
While scratching only the surface, I truly hope my Undercover Soundtrack might lead you to explore some new music and delve deeper into the amazing depths of Haitian music and culture.
Ted Oswald is a public interest attorney living in Philadelphia with his wife Katharine. Written while living in Haiti, after taking the bar exam, and before beginning his new job as a lawyer, Because We Are: A Novel of Haiti is Ted’s first foray into fiction. The book is to be re-released by Amazon Publishing’s Thomas & Mercer imprint in May 2014. You can purchase the current version of the novel in print and ebook formats on Amazon and follow updates about the book and its mission as a ‘nonprofit novel’ on Twitter and Facebook. Ted can be reached by email at email@example.com.
advocacy, Alan Lomax, Atis Indepandan, authors, Because We Are, Boukman Eksperyans, community, contemporary fiction, contemporary music, Desert Island Discs, Djakout #1, drama, education, entertainment, folk, folk music, Gede Nibo, Haiti, Haiti earthquake 2010, Haitian music, hip-hop, human rights, justice reform, Ludovic Lamothe, male writers, Martha Jean-Claude, Mos Def, murder mystery, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, protest novel, protest songs, rap, Roz Morris, Sten Kellman, T-Vice, Talib Kweli, Ted Oswald, The Fugees, The Roots, The Undercover Soundtrack, undercover soundtrack, volunteering, writing to music, Wyclef Jean
Fasten your seatbelts for a trip to Haiti. My guest this week was inspired to write his first novel by a spell as a volunteer after the 2010 earthquake. When he returned to the US he began to write a story of friendship, the struggle for justice in the face of impunity, sacrifice for the community and the foolishness of scarcity in a world of plenty. To recreate that distinctive place and define his characters, he returned to the music he heard pouring out of the radios in Port-au-Prince – folk, rock, rap and hip-hop. He says his work is a protest novel and so he’s donating the proceeds to aid organisations he worked with to help further education, advocacy, justice reform and prosecute human rights abuses. The novel is Because We Are; he is Ted Oswald and he’ll be here on Wednesday with his Undercover Soundtrack.
advocacy, authors, Because We Are, contemporary fiction, Desert Island Discs, drama, education, entertainment, folk, Haiti, Haiti earthquake 2010, hip-hop, human rights, justice reform, male writers, murder mystery, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, protest novel, protest songs, rap, Roz Morris, Ted Oswald, The Undercover Soundtrack, undercover soundtrack, 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 it’s my turn on the decks – with the Undercover Soundtrack for Lifeform Three
Lifeform Three is a fable in the tradition of Ray Bradbury, set in the near future, where global warming has shrunk the landmass and the countryside has been sacrificed for buildings and roads. One valley remains, of woods, trees and meadows, and is now kept as a theme park – The Lost Lands of Harkaway Hall. My main character, Paftoo, is a groundsman there. He’s the odd one out; the only soul who’s uneasy in a world that everyone else accepts. You could say he lives in a utopia – but to him it’s a dystopia.
I knew the emotional beats of Lifeform Three before I knew the story. They came to me as pieces of music, a chain of albums and tracks that suggested the landmarks of the novel. I would load them into my MP3 player and take them running, puzzling over them as I pounded out the miles.
Paftoo is a bod – an artificial human who’s programmed to do menial tasks. To keep him efficient, his memory is regularly wiped, but he has inklings of other memories. We meet him after such an event (known as a ‘sharing’). My first beat was that state of newness, a world shining and fresh where you go out and do your tasks, content with simple instructions. In the beginning, Paftoo doesn’t even know his own name until he realises the sole of his boot has a number – 2 (his name is an alphanumeric, short for Park Asset Field Redo Bod 2).
Boards of Canada’s album Music Has The Right To Children told me the innocence of new, eager eyes, especially this track, An Eagle In Your Mind.
The novelty doesn’t last long. There’s a wildness in Paftoo and by the end of his first day, he’s made the others wary of him. He’s also frustrated. But worse is to come when night falls. While his companions go dormant and lifeless, Paftoo starts to dream.
Again, the idea came first as a feeling from music – Peter Gabriel’s soundtrack to The Last Temptation of Christ suggested a tingling in the nerves, a meaning that must be grasped.
First he hears sounds; urgent and deep, like a heartbeat in the ground
The dream sequence was choreographed to that album. It starts with a sense of unease, then that beat gallops in like the thing you knew was coming.
Horses, flashing across the green hills in glorious gallop. Necks reaching, tails streaming. Riders on their backs, urging them faster.
Paftoo opens his eyes, shocked. He knows he’s not supposed to dream. He also knows that nobody rides horses now. They’re untamed animals in the fields (and known as Lifeform Three). But at the same time it makes perfect sense in his restless soul. From that moment, Paftoo has a mission. Every night, he goes looking for clues that might explain why he has these dreams and what happened to him before his mind was wiped. By day, he struggles to hide his true nature in case he’s wiped again.
In a small way the story is autobiographical. In winter 1995 I acquired a horse, which had been an ambition since I was a kid. Like the horse Paftoo later befriends, my horse was enormous, black and alarmingly excited to be alive – especially with the frost nipping his clipped skin. I was laughably incompetent on his back, especially when trying to stop him. While sceptical (and wise) folk waited for me to give up and sell him, I was determined to persevere. If I couldn’t handle my dream, what did that make me? That first winter, Enya’s Anywhere Is was in the charts. I wasn’t a fan of her music, but when I came to write Paftoo’s attempts to tame a horse I listened to Enya to capture that time. For some reason Caribbean Blue with its waltz rhythm brought back the sense of a wondrous adventure, the tentative courtship of a wild creature and the sense of being alone on a dumb-headed quest for something inexplicable and ideal.
A song called Caribbean Blue that takes me back to an English winter, riding horses? Like dreams, Undercover Soundtracks have a logic of their own. Or I take no notice of lyrics.
During the writing, my soundtracks had to become a time machine. Those first days with my oversized horse were, as you can probably see, long ago. Reader, I kept him, and he was now reaping the arthritic rewards of a vigorous life. I was having ghastly conversations with the vet because if her treatments didn’t work it was time for the gun. I clung to those music tracks to help me give his glory days to Paftoo while the real situation seemed so hopeless. Thankfully, he rallied and we gallop on (on a good day).
The horse awakens Paftoo’s sense of the natural world, which humanity seems to have lost. Again, music already contained what I needed to say. Vangelis’s Pulstar was the thrill of galloping feet
‘gathering up the miles and throwing them out behind’.
Electromantic La Baletta No 2 - by the Hungarian composer Gabor Presser had feisty, fertile joy, like a primitive spring ritual. It smells of untamed hair and corduroy. And whoever said electronic music lacked a soul? Both these tracks are entirely electronic, made from circuits and wave generators, yet they bound and leap like wild animals.
But there’s a lot more to Paftoo’s quest than riding and nature. They are merely the beginning; the gateway to a profound discovery of his own past and the people and creatures he loves. Now I’m trying to avoid spoilers, but I can say that the more he recovers, the more he stands to lose and the more desperate his day life becomes. This impossibility was exquisitely insisted in Ralph Vaughan Williams’s The Lark Ascending.
The piece was written in 1914 and 1920, in an England changed forever by the first World War. That period would also be the heyday of Harkaway Hall, the mansion that used to stand at the heart of the Lost Lands, where Paftoo now struggles to keep his memories. The Lark Ascending seems to say that what will be lost is more than just the loves of a few souls in a little story; it speaks for the loss of time, grace, of fallen walls in overgrown woods, bumps under the turf in an empty field. That violin seems to be shrilling from the skies: it won’t last. We won’t last. And how can Paftoo save it?
Roz Morris is, of course, your host here on The Undercover Soundtrack. Find out more here, connect on Twitter as @byRozMorris and on the writing advice blog Nail Your Novel. Her first novel was My Memories of a Future Life (Soundtrack here) and Lifeform Three is now available in all formats, including print.
authors, Boards of Canada, contemporary fiction, Desert Island Discs, Downton Abbey, drama, electronic composers, electronic music, electronica, English mansions, entertainment, Enya, fantasy, Gabor Presser, horses, Life Form Three, Lifeform, Lifeform 3, Lifeform Three, literary fiction, literary novels, literature, Margaret Atwood, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Peter Gabriel, playlist for writers, Ralph Vaughan Williams, Ray Bradbury, reincarnation, robots, Roz Morris, Roz Morris fiction, science fiction, soundtrack, speculative fiction, synth music, synthesisers, The Lost Lands of Harkaway Hall, The Undercover Soundtrack, undercover soundtrack, Vangelis, vanished houses, vanished mansions, vanished mansions in England, wild horses, Women Writers, Women's fiction, writers, writing, writing to music
My new novel isn’t set in the world of music and none of the characters are musicians. It’s a quirky take on the future dystopia/utopia, with a smattering of Arcadia too – misty woods, abandoned towns, a forbidden life by night; the scent of bygone days; and an enigmatic door in a dream. Behind the scenes, though, music did all the early work for me. The first, rough outline came to me from favourite tracks by Boards of Canada, Peter Gabriel, Vangelis, Enya, Ralph Vaughan Williams and the Hungarian electronica composer Gabor Presser. As I built the story I listened to them repeatedly, and now each of them represents a landmark on my main character’s journey. Join me here on Wednesday, when I’ll explain the Undercover Soundtrack for Lifeform Three.
Arcadia, authors, Boards of Canada, contemporary fiction, Desert Island Discs, drama, entertainment, fantasy, Gabor Presser, horses, Lifeform Three, literary fiction, literary novels, literature, Lost Lands of Harkaway Hall, misty woods, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, nature, Peter Gabriel, playlist for writers, Ralph Vaughan Williams, Roz Morris, Roz Morris fiction, sci-fi, science fiction, scifi, slipstream fiction, smattering, speculative fiction, The Undercover Soundtrack, undercover soundtrack, vanished houses, wild horses, wild places, wildlife, Women Writers, Women's fiction, 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 magical realist suspense novelist Candace Austin @caustinauthor
There are two things from which I abstain while writing—music and wine. I write better in silence while sober. Maybe this is why I work through a first draft fairly quickly?
I can reduce the bustling of my busy family to a low murmur with my thoughtful plotting, but music, I cannot. It’s captivating to me. Music does, however, play a huge role in the growth of my novels. Once my protagonists and their stories germinate in my brain, I set out in search of a song that will help them flourish. It never fails. I find a perfect song that speaks to their stories and tells me their secrets. It’s as if the song was created just for my characters—for me.
My debut novel, The Layers, is the story of David Kiplinger, a 19-year-old living in a post-Unveiling age in which most everyone remembers past lives. When TheLayers.b4u website (think Facebook meets Ancestry.com for millennia past and present) reveals that David has lived exponentially more lives than anyone else on earth, he’s lifted to a level of fame reserved for the divine. To answer questions and diffuse the onslaught of attention, David agrees to an autobiography, but when he meets his ghostwriter, Holly Stone, he can’t help but wonder if she’s the woman who has lived alongside him, the one he has loved unconditionally, the one who killed him.
Regardless of David’s suspicions about Holly, theirs is a sweet and humorous story of unconditional, eternal love … and irony, there is irony. When I heard Brandi Carlile’s The Story, I knew it was their song. Ms. Carlile sings about the layers, the depth of our individual life stories and how immensely satisfying it is to find that one person who knows your story like the back of their hand and appreciates it for all that it is, and all that it’s not. It’s messy. It’s glorious. Life’s elation and misery are there in her lyrics. I often listened to it before I began my daily writing. The intensity with which she sings the song inspired me to elevate the emotions as I wrote, and I think The Layers turned out better for it. How this song was not a chart topper, I’ll never know.
Whimsical and inspiring
One song does not fit all, however. Much of The Layers is humorous, and I found that I needed to shift into another gear when writing the lighthearted scenes. Jamie Cullum’s remake of Ruby and the Romantic’s classic Our Day Will Come struck the perfect chord. The tune is whimsical and inspiring, hopeful and innocent, much like David.
David handles his complicated relationship, newfound fame, and status as the most reincarnated of men with a cheerful optimism. He likes to think that living is a gift, not a punishment. Life is Okay by Michael Johns and Brooke White embodies the guarded optimism that defines him.
Rounding out my playlist is In My Life by The Beatles and Imagine by John Lennon. Obviously, there’s a theme here—life. Music helps me contemplate life. Just imagine what life would be like if we remembered being someone else, somewhere else? (insert Twilight Zone theme). Would we launch into a new life knowing what to savor? Would the world improve because we understood without a doubt what is important?
Ooh. I will now listen to music with a glass of wine in-hand!
Candace Austin is the author of The Layers and In Her Sleep. Her fast-paced, suspenseful novels use magical realism to explore love, life, and the humorous and heart-wrenching oddities in both. Originally from the Chicago suburbs, Candace resides in Raleigh, North Carolina with her husband of 20 years, two kids (one heading for college, the other kindergarten), a hefty Golden Retriever, and a Maine Coon Cat that comes and goes as he dang well pleases. When not writing, she enjoys NC State football games (particularly the tailgating), and traveling to Maine to spend time with her parents and family. Find her on her website and on Twitter as @caustinauthor
That’s the last Undercover Soundtrack for 2013! The series will return on 8 January.
ancestry, authors, Brandi Carlile, Candace Austin, Chicago, Desert Island Discs, drama, entertainment, Facebook, fantasy, ghostwriter, Jamie Cullum, John Lennon, magical realism, Michael Johns and Brooke White, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, past lives, playlist for writers, reincarnation, romance, Roz Morris, social media, social networks, speculative fiction, suspense, suspense author, The Beatles, The Layers, The Undercover Soundtrack, Twilight Zone, undercover soundtrack, who were you, Women Writers, writers, writing, writing to music
My guest this week says she can ignore just about any distraction and write – except for music. But she also can’t write a character until she has found the perfect song as a vehicle for their personality, back story and secrets. Her debut novel fits rather well with this blog for another reason too – it’s the story of the world’s most reincarnated man, with all the troubles – past and present – that that implies. She is Candace Austin and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, Candace Austin, debut novel, Desert Island Discs, drama, entertainment, love, magic realism, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, reincarnation, romance, Roz Morris, The Undercover Soundtrack, undercover soundtrack, Women Writers, 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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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
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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'