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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is multi-award-winning young adult novelist Tabitha Suzuma @tabithasuzuma
Soundtrack by Rachmaninoff, Shin Suzuma, Bomfunk MC, Eminem, Charlotte Church, Lea Salonga, Mozart, Katherine Jenkins, Serge Gainsbourg, Charlotte Gainsbourg, Philip Glass, Gabriel Faure, Amy Winehouse, Garbage, Lana Del Rey, Paloma Faith, Marilyn Manson, Gabriel Yared, Christopher Duffley
The music came before the idea, before the very first book, before the whole career. I was working as a school teacher and spending most of my salary on tickets to concerts at the Royal Albert and Royal Festival Halls. My debut novel, A Note of Madness (2006), was born out of my lifelong obsession with music, mainly classical, and in particular Rachmaninov. The novel is about Flynn, a teenage piano prodigy who falls prey to bipolar disorder as he struggles to master the notoriously difficult Rachmaninoff’s Third Piano Concerto. So the piece, as well as my own struggles with the illness, inspired the whole book. I have always loved music and used to skip lessons at school to sneak into the music room where I started teaching myself the piano. My brother, concert pianist Shin Suzuma, was born when I was 14 and started picking out tunes on my keyboard before he could even walk. I was determined he should have every opportunity to become the concert pianist that I felt he was destined to be, so began teaching him. Today he is finishing his studies at the Royal Academy of Music and embarking on this very career.
The sequel to A Note of Madness came a couple of years later. A Voice in the Distance (2008) was dedicated to my brother, mainly because his music room was above my study, so he provided me with a live soundtrack to my book. He was learning the equally ambitious Rachmaninoff’s Second Piano Concerto at the time, a piece which features prominently in the book, and shortly after finishing it, I finally got to see my brother perform the piece with his university orchestra. The two books also feature Bomfunk MC’s Freestyler and Eminem, which I would listen to when writing Flynn’s manic episodes. His girlfriend, Jennah, is a singer and performs Summertime (performed here by Charlotte Church, On My Own (performed by Lea Salonga) , and Mozart’s Laudate Dominum (sung by Katherine Jenkins) – three of my favourite songs that I listened to on repeat.
So music and writing, for me, have always been irrevocably entwined. The first thing I do every night when I sit down to write is sort out my playlist. My last book, Forbidden (2010), is a tragic love story about an incestuous relationship between a brother and sister. Because of its subject matter, it was a harsh, frightening and lonely book to write. It wasn’t a plot I could discuss with family or friends, I had no idea if it would ever be accepted for publication, I was teaching by day and writing by night, so it was very intense. I was often in tears, and a combination of severe clinical depression, stress, insomnia and sleep deprivation led me to having breakdown soon after finishing it. The music I wrote it to reflects both the tone of the book and my state of mind at the time. Lemon Incest and Charlotte Forever by the late Serge Gainsbourg and his then teenage daughter Charlotte Gainsbourg are both songs about father-daughter incest, and understandably created a great deal of controversy and anger when they were released in the mid-eighties. Philip Glass’s amazing soundtrack to my favourite movie The Hours was also permanently on my playlist, along with Faure’s Requiem and Mozart’s Requiem, which I listened to throughout writing the extremely painful final chapters of the book.
After Forbidden, I was forced to take a break from writing for health reasons, but have finally finished writing my sixth book, Hurt, out this September. It was an equally tough book to write, dealing with a similarly difficult, controversial and painful subject matter. I wrote it to Back to Black by Amy Winehouse, Only Happy When it Rains by Garbage, Born to Die by Lana Del Rey, Lose Yourself by Eminem, Play On by Paloma Faith, and a very haunting cover of The Beautiful People by Marilyn Manson. These songs helped me get into the detached, heavy-hearted and depressed moods of Mathéo: a talented, privileged teenager who on the surface appears to have it all but deep down, harbours a terrible secret that threatens his life as he knows it, as well as the relationship he has with the only girl he has ever loved. It is one of the harsher, grittier and more difficult books I have written, and the soundtracks to the films Sylvia and Never Let Me Go also helped me reach the levels of distress experienced by Mathéo as he battles with his secret, his past, the consequence of his actions, and ultimately attempts to achieve forgiveness and absolution.
I am about to start writing my book for 2014. I can’t say what it is about yet, but I can say that it will be written to the soundtrack of the heart-wrenching voice of 11-year-old Christopher Duffley, and in particular his rendition of the song Open the Eyes of my Heart which I have already started listening to on repeat.
Tabitha Suzuma is an award-winning author of six books. Her most recent, Hurt, is due to be released in September 2013. Her last book, Forbidden, a controversial and hard-hitting book about sibling incest, was translated into six languages and won the Premio Speciale Cariparma for European Literature Award as well as being nominated for a number of others. She has won the Young Minds Book Award and the Stockport Book Award. Her books have been shortlisted for the Branford Boase Award, the Lancashire Book of the Year Award, the Catalyst Book Award, the Stockport Book Award, the Jugendliteraturpreis Book Award and nominated for the Waterstone’s Book Prize and the Carnegie Medal. For more, visit www.tabithasuzuma.com, add her on Facebook: www.facebook.com/tabitha.suzuma, or find her on Twitter: @TabithaSuzuma
GIVEAWAY: Tabitha has signed print editions on offer for the three most interesting comments. If you enjoy her post, let her know here!
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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is novelist and creative writing tutor Niki Valentine @nikimon
Music is incredibly important to me as a writer and has played a large part in my process, as well as populating my stories almost constantly. My latest novel, Possessed, is immersed in music in that it takes place in a conservatoire at an unnamed university. The students are obsessed and driven by music. This means that music comes out in the story itself. Both of the pieces I’m going to talk about appear in the narrative, in rather dramatic ways, but what’s more interesting, I think, is how these pieces fed into my writing process.
The vulnerability of a female soloist
The first piece is Schubert’s Ave Maria. This has a special place in my heart because it was performed at my wedding. For some reason this piece was running a constant background in my head as I sat down to write. As the music played out in my head, I could see one of my main characters singing it, and it meant I could hear her voice, picture her vulnerability. This fed into her character in many ways. Firstly, she became a singer as well as a flautist, which I hadn’t originally planned, and it helped to distinguish her from her twin sister, both in my mind and in the narrative. There is something haunting about this piece of music and I think part of that comes from the vulnerability of a female soloist, hitting those high notes. And, of course, it’s often a funeral hymn, or sung in church.
The other piece came later in the process, meaning that I was brought to it by one of my characters rather than the other way around. I realised that my protagonist, a young pianist called Emma, had never played a Rach and that she wanted to. This led me to listen to some Rachmaninoff concertos and sonatas, which became a constant background to my planning and writing. I wanted to bring in the intensity of certain pieces of piano music and how they could be consuming. In the end, I chose his Sonata number 1 and focused on the first movement. I was particularly struck by this recording by Valentina Lisitsa.
The characters in the music
There is something compelling about this sonata and, of course, it’s highly technical. I think it’s utterly lovely, and full of power, and the Lisitsa performance keys into that. Each time I listened, I found something different there. Since I’ve been writing I’ve had two absolute gifts that have presented themselves to me in the research stage. The title of my first novel was one and this piece of music, the other. The more I listened, the more I felt that my characters were there in the music, trying to get through to me. It fed into my process in an ongoing way.
I then read about its genesis and Rachmaninoff’s composition process. This was where something magical seemed to happen. I discovered that the composer had originally themed the Sonata on Goethe’s Faust. The tragic play of lost innocence has so many resonances with my story. Like the play, Possessed has three main characters and, similarly, there’s the sense of naivety about one, malevolence in another and, perhaps, collusion and deception from the third. I love to play with grey areas in my fiction, so there is sense that these personality traits move between my characters but, essentially, the triangle is similar. Even more wonderfully, I’d focused on the first movement, said to represent the turmoil of Faust’s mind. In my stories, the psychological disorder of the characters is all important and perhaps this is why the particular piece appealed so much.
To begin with, my connection with this music thematically was entirely to do with what I heard and how it made me feel but, as I researched, the theories fed in to my process too. With a thriller, you don’t want themes or ideas playing on the surface, but they were certainly something I kept in mind as I continued to write and draft. I doubt there are many readers who would see this through my writing and understand it but, for me, the music added a depth to this book that made it far richer.
Niki Valentine is the award winning author of The Haunted, The Doll’s House, and Possessed, published by Sphere. She also writes gritty, realist fiction as Nicola Monaghan. When she isn’t working on her next psychological thriller, Niki teaches creative and professional writing at Nottingham university. Find her on Twitter @nikimon
authors, classical pianists, contemporary fiction, Desert Island Discs, entertainment, Faust, Goethe, literature, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nicola Monaghan, Niki Valentine, piano, Possessed, psychological thrillers, Rachmaninoff, Roz Morris, Schubert, The Undercover Soundtrack, thriller, undercover soundtrack, Valentina Lisitsa, writing, writing to music
Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by award-winning novelist and incorrigible genre hopper @GGVandagriff GG Vandagriff
Right next to my love of writing is my love of music. In fact, as I look at my novels, I find that music is inescapably woven through them. I take my literary cues from the music I listen to.
Tchaikovsky’s Violin Concerto in D Major was the inspiration behind my women’s fiction: Pieces of Paris. My heroine, Annalisse, is stuck in the Missouri Ozarks with her quixotic husband who thinks he has found the Garden of Eden. However, she grew up on a farm and knows that a farm is just a farm. She is overcome by PTSD and finds herself immersed in flashbacks of another life her husband knows nothing about.
Before that life ended tragically (thus causing her to bury the memories deeply), she was a concert pianist (Rachmaninoff’s Second Piano Concerto and Chopin’s etudes figure here). More importantly, she was passionately in love with a brilliant violinist consumed by the Tchaikovsky.
In creating that character, I also became consumed – both with him and with that amazingly complex composition. I played it as I wrote, and Jules became one of my most memorable characters. The concerto is vastly yearning, longing for resolution. Jules’s character development traced the concerto’s. In the same way, as I wrote this book during my 25-year apprenticeship, I was yearning for the completion that only writing could give me. I was stretching, as the violinist stretches in this composition. It was plainly the soundtrack for my literary life.
In my most recent book, The Only Way to Paradise, a tale of four women who find hope and healing in Italy, two of my ‘crazy ladies’ are violinists. Arthritis has stricken Georgia, ending her career as a violin sensation. The Mendelssohn Violin Concerto was her signature piece, and she played it ‘like silk’. As I wrote of Georgia and her memories, I played the concerto as my soundtrack. When she thinks she wants to end her life, she hears through her window in Florence, the sound of the Dvorak violin concerto played by an anonymous virtuoso. The Slavic melody of the music echoes her mood, but saves her life. The violinist turns out to be one of her companions, whom she undertakes to mentor.
It is one of life’s great ironies that I understand music, but cannot play a note, nor even read it! However, I cannot live without it. Now, as I write a frothy romance, I am listening to a lot of Bach and Puccini Arias. Except for the duel scene—that is accompanied by Shostakovich’s uber-dramatic Fifth Symphony!
GG Vandagriff is the author of 12 books and an inveterate genre hopper. She has a series of five mysteries, two suspense novels, one award-winning historical epic, two novels of women’s fiction, and two non-fiction. She is also a journalist, writing for an on-line magazine and Deseret News. Educated at Stanford, she studied music at Stanford-in-Austria. Her latest book is another genre hop into romance, The Duke’s Undoing. Find her on Twitter, her website and her blog.
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- '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
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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'