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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 Kim Wright, author of Love In Mid Air
For some reason, I’ve always had a penchant for songs that sound upbeat on the surface but that have, when you stop to listen, dark or menacing lyrics. When I was writing Love in Mid Air, I listened to Nick Lowe’s Cruel to Be Kind and I also liked Kryptonite by 3 Doors Down. It makes sense, because the novel is about a woman who seems to have the perfect life, but who has this sarcastic, discontent, wounded inner voice.
Manic energy and heartbreak
I read somewhere that there’s only one theme in literature, which is ‘Things are not what they seem’. Maybe it’s not the only theme in literature, but it’s a good one, which might be why I like songs where the melody and the lyrics don’t quite match. Lately I’ve fallen in love with Valerie by Amy Winehouse, especially the live version. It’s the epitome of using manic energy to cover up heartbreak and it punches me smack in the gut every time I hear it.
In my head, my heroine Elyse had a theme song, which was The Angels Wanna Wear My Red Shoes by Elvis Costello. It seemed to speak to Elyse’s obsession with turning 40 and her sense that time was running out – and the fact she’s so determined to seize life that she’s almost prepared to make a pact with the devil. The reference never made it into the book, but I’m working on the sequel now, which is told from the point of view of Elyse’s best friend Kelly, and there’s a scene where Kelly comes downstairs one morning and finds Elyse in the kitchen frying eggs and singing the Costello song.
For the wicked scenes
Sex scenes require something really different. Usually I write them in public spaces, like a Starbucks or sushi bar, and I have absolutely no theory on that one. Having a crowd around me seems to break down my inhibitions, although I worry sometimes that I’ll leave my laptop to go to the bathroom and come back to find I’ve been arrested on some sort of morals charge. When I’m home I play either Wicked Game by Chris Isaak – who I met one time and, incidentally, he’s just as hot as his song – or, if the scene calls for something more domestic or tender, Warm Love by Van Morrison. Van Morrison might be a patron saint for writers in general. His lyrics are terrific.
When I was doing a lot of magazine writing, we always worked way ahead of schedule – I was writing articles about the dangers of sunburns in December and tips for New Year’s entertaining in July. Music was a way for me to trick myself into the seasonal switch. In Love in Mid Air, Elyse throws a big Christmas party and I was working on that scene down at my mom’s beach house in the dead of summer. I specifically remember listening to Diana Krall singing Sleigh Ride one afternoon while I was walking my dog on the beach and it was like 100 degrees.
Headspace and rituals
It’s funny how often writers use these weird little tricks to get themselves into a certain headspace- to reset their thoughts to another place or time or mood. Developing rituals around your writing seems to be a key part of the job and I’ve often thought that the writers who claim they never get blocked are those who have created very specific signals to their subconscious that say ‘Sit down and shut up, because it’s now time to write’. Music can be a big part of this; it’s like a shortcut between certain parts of the brain.
3 Doors Down, Amy Winehouse, authors, Chris Isaak, contemporary fiction, Desert Island Discs, Diana Krall, Elvis Costello, Kim Wright, Love In Mid Air, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Nick Lowe, playlist for writers, Roz Morris, soundtracks, The Undercover Soundtrack, undercover soundtrack, Van Morrison, Women's fiction, writers, writing to music
- 'Constant murmur of pouring rain, piano chords and a stormy sea'
- 'A spellbindingly good yarn'
- 'Simple, beautiful - gripping'
- 'So original it's in a class of its own'
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
- Carol is a concert pianist until an injury threatens her career. Desperate for a cure she discovers her future incarnation - or is he a psychological figment? And can he help her recover?
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- All content copyright Roz Morris 2011, 2012, 2013, 2014, 2015. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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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'