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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 debut YA paranormal novelist Christina Banach @ChristinaBanach
Soundtrack by Iggy Pop, Evanescence, Cyndi Lauper, Robbie Williams, Samuel Barber
I find background noise somewhat distracting when I’m working, so my normal practice is to squirrel myself away in my study and write in silence. However this doesn’t mean that music plays no part in my creative process – far from it. Even in the initial stages of brainstorming ideas and exploring characters I find lyrics and melodies filtering through my consciousness and seeping into the story I’m trying to tell. It’s at that point that I compile the playlist that I will listen to, time and again, when I’m not actually writing, that is. Then, as I work through the revisions, shaping my manuscript, this music spools in my mind, helping to deepen character and clarify – and intensify – plot points. This was especially true when I was writing Minty.
Although the book is shot through with humour, Minty is undoubtedly an emotive read, a true emotional roller coaster according to its reviewers. It centres around one of life’s big questions – is there life after death? – and deals with love, loss, friendship and redemption. Above all it is a book about hope. With such weighty themes it is no surprise that much of the music that informed the story is haunting, thought-provoking and stirring.
At the beginning of the book the protagonist, Minty, and her sister, Jess, are ordinary girls who are in love with life. As I grew familiar with their characters one song began to fill my head – Iggy Pop’s Lust for Life.
However, these typical teenagers are also identical twins, girls who are bound by a steadfast bond, one that is jeopardised when Minty drowns during a family trip to the coast. Yet the sisters’ connection isn’t broken, for Minty finds herself trapped between life and death, forced to watch Jess’s spiralling grief.
In the immediate aftermath of the accident Jess is desperate to catch Minty’s last breath (the twins are fascinated with the customs of ancient Rome). My readers tell me this is an intensely emotional scene. It was certainly emotional to write and this is partly due to the song that ran through my mind as I crafted it – Evanescence’s My Last Breath. It speaks to me of Jess’s despair, and Minty’s full appreciation of the situation she is now in.
Indeed, Evanescence features highly in the Minty playlist, for it is their songs that influenced the development of Jess and Minty’s character arcs. For instance, My Immortal could have been written specially for this book. It is this song that helped me drill down into Jess’s core and uncover not only the pain she feels now that she has to live without her sister, but also the agony of Minty’s presence still lingering in her mind. It’s Jess’s lament, if you like.
Then there is Bring Me To Life. I tend to think of this as the Minty anthem because, even although it is Minty who is deceased, the twins are both dead to some extent. In their separate, and very different, ways they need to be saved from themselves. Bring Me To Life helped me clarify this.
Why can’t I grasp it? Cos I’m nothing – a shade, a ghost, whatever I want to call it. I am a big fat zero. I should be used to that by now – being in this world but not of it. The thought sickens me. This existence sickens me.
Which brings me to my final Evanescence song, the beautifully haunting, Missing. It is this song that helped me tap into Minty’s pain and confusion at a particular juncture in the story, a plot point that is all the more poignant because it comes hard on the heels of an uplifting episode, featuring Jess and her friends. Cyndi Lauper’s Girls Just Want To Have Fun was the musical inspiration for writing that light-hearted scene.
And yet writing Minty wasn’t purely a full-on Evanescence fest, the music of other artists also wormed their way into my subconscious and aided the creative flow, and I don’t only mean Cyndi Lauper although another of her songs, True Colours, assisted me greatly in pinning down Jess and Minty’s characters.
Cue Robbie Williams and Angels. This well-known song is actually mentioned several times throughout the novel. In fact, it has a significant role in three of the pivotal moments in the narrative. One of these is Minty’s funeral, a chapter that stood unchanged through drafts one to eight of the revision process. I reckon that this song helped me nail it first time. Another of Robbie’s songs, Nan’s Song, was the soundtrack to one of my favourite scenes in the book, a scene based on something rather mysterious and perplexing that had happened to me many years ago. Listening to the music playing out in my head allowed me to capture that moment and transplant it into Minty’s story.
The ultimate fragment in the soundtrack puzzle is Samuel Barber’s Adagio for Strings. Several people have told me that Minty is an extremely filmic book, which is interesting because as I wrote it I saw it played out before me as if I were watching a movie on the big screen. This was never truer than when writing the closing scene of the final chapter. For me, it’s a moment of such poignancy, such beauty and high emotion – of hope. Perhaps Barber’s Adagio unleashed something in my psyche that enabled me to create the scene that needed to be written. I don’t know for sure, all I can tell you is that I cried each time I worked on it.
Christina Banach is an ex-head teacher who lives in Scotland, UK, with her husband and their two rescue dogs. Her debut novel, Minty, was the first acquisition of new publishing house Three Hares. She is currently working on her next book, a contemporary ghost story come psychological thriller set in and around the legendary village of Glencoe in the Scottish Highlands. Find her on Twitter @ChristinaBanach, or on her website, or Pinterest. Cover of Minty by Serafim.com
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My guest this week is releasing her debut novel, a tale of love, loss and friendship centring on a pair of twins. She says that music was her anchor while she was brainstorming ideas and exploring the characters, helping to deepen her characters and refine her plot points. Her soundtrack ranges from the mournful to the joyous, with tracks by Iggy Pop, Evanescence, Robbie Williams, Bette Midler, The Hollies and Samuel Barber. She is Christina Banach and she’ll be here on Wednesday with her Undercover Soundtrack.
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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 award-winning novelist, essayist and poet Consuelo Roland @ConsueloRoland
The Good Cemetery Guide began one fog-laden winter’s night in a dimly-lit music locale in Kalk Bay, South Africa. Three acoustic guitarists, jamming loud enough to wake the dead, shifted my world a step to the left.
The uninhibited energy that rocked that small dingy space attracted a motley crowd, including some local town ghosts. Tony Cox, Steve Newman and Syd Kitchen, acoustic guitar fingerstyle masters, opened a passage between the real world and the possible world. On the long road home we passed a drab brick house with salt encrusted windows. The nondescript sign of a funeral parlour floated in the sea fog under a street lamp. Behind the walls I saw Anthony Loxton looking at himself in a bathroom mirror, back from a guitar gig, wishing his life could be different.
It’s hilarious in retrospect. My first novel was going to be about a funeral director moonlighting as a guitar player, when I knew nothing about making music or the undertaking business. But the musician before his audience was a perfect metaphor to underpin an ancient literary theme: No Man is an Island.
Part of my research was always having the car radio on – it felt necessary. One day I found myself finger-tapping to Ziggy Marley’s Jammin, and an image popped into my head of Sweet the guitar teacher jiving to his own beat, adding a repetitive gospel music refrain to the reggae beat; taking liberties with the musical greats.
Anthony’s alter ego, Tony the Fox, evolved in a similarly strong-willed direction; he began to think of himself as looking like Phil Collins. In those early days of story incubation I turned to my favourite power balladeers for inspiration: Richard Marx’s Waiting for You made me feel the pain of missing the woman you love; Phil Collins’s Survivors made me feel the sadness of doomed love with a shared past.
Gradually all the listening paid off. I borrowed bits and pieces of songs that felt completely right and authentic, and that amplified the storybook of a third-generation funeral director who strives valiantly to outfox destiny.
At a major crossroad of his adult life Anthony remembers ‘that sometimes the words of a song don’t have to make sense for it to be a good song’, and he ‘lets the man and the woman go to Mexico before the gringos came, and make capsicum chilli love as often as they want.’
The Mexican theme came up when I was ‘doing research’ in Kalk Bay. The discovery of the afternoon was a Mexican cowboy cardboard puppet who fired from the hips. Bang! Bang! He was delightfully impish, although the skeleton Señorita in her cellophane packet seemed impervious to his charms. I could see a small boy discovering Mexico in a forbidden library book. By torchlight he might see a band leading a procession and then a host of twirling skeletons and masked dancers (to help the dead go back) attending El Día de los Muertos. On that night of heartfelt sorrow and great celebration the veil between the living and the dead would be lifted; the Mexican cowboy would serenade the beautiful Señorita, and he would raise his pistols – Bang! Bang! – for every suitor, dead or alive. It was the mesmerizing Lila Downs who acted as my guide to a Mexico of the soul.
Anthony’s double life embodies secrets. The theme of concealment is interwoven with melody to express dark, melancholic thoughts the adult man cannot otherwise vocalise. I unearthed Texas troubadour Willis Alan Ramsey’s Ballad of Spider John while researching guitars.
Much of the novel is about coming to terms with existence, and how sex is only a temporary diversion. Writing about sex from a man’s perspective was a challenge. Listening to Meatloaf’s soaring lustful lyrics, particularly the gothic epic You Took the Words Right Out Of My Mouth, helped the sex scenes to flow. The effect of that single song and its sexual tension and irony was enormously helpful to get inside the head of my lascivious male character as he spun from one carnal adventure to the next.
When gothic love is followed by gothic death the musician quits playing and the masquerade is temporarily suspended. It’s left up to the broken-hearted to process the inexplicable as best they can. Robbie Williams’s Cursed perfectly evoked the mood of ‘immeasurable sadness’ that occasionally struck Anthony down. Cursed has a driving rock beat which captures the concrete physicality of being alive and then it slows completely and incredible piano sections evoke the fragility of love and the power of memory.
This is the unique soundtrack of a man who was born the son of a mortician, and given the gift of a guitar. In The Good Cemetery Guide music has the power to wake not only the dead, but also the living.
Consuelo Roland lives in Cape Town. After leaving the IT business, she completed an MA in creative writing. Her debut novel The Good Cemetery Guide was shortlisted for the Sunday Times Fiction Prize 2006. It was also selected via an e-mail poll of readers as one of 30 Centre for the Book’s ‘must read’ South African Books in 2007. After retrieving her rights she self-published as an ebook. She has also published poetry and short stories. Her essay, ‘Was Ayn Rand Wrong? An essay on capitalism’, appeared in The Face of The Spirit: a century of essays by South African Women published by the Department of Art & Culture. Her second novel Lady Limbo is due for release by Jacana Media in November 2012. Connect with her on Twitter @ConsueloRoland Facebook and her website.
GIVEAWAY – For a FREE e-book copy of The Good Cemetery Guide send an email – before 15th November – to firstname.lastname@example.org with your full name and ‘The Undercover Soundtrack FREE e-book offer’ in the subject heading. You’ll receive a 100% discount coupon to use on Smashwords
HIATUS – Next week I’m taking a brief break. The Undercover Soundtrack will return on 14th November
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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'