Posts Tagged Roz Morris

The Undercover Soundtrack – Guy Mankowski

for logo‘Armour and post-punk lullabies’

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 contemporary fiction author Guy Mankowski @Gmankow

Soundtrack by Savages, Manic Street Preachers, David Bowie, New Order, Magazine, Ultravox, Yourcodenameis: milo, Joy Division, Marilyn Manson, El Perro Del Mar

I think music has influenced me in a way that is perhaps unusual. One of my favourite bands, Savages, describes their music as a ‘suit of armour’. I use music to motivate me, empower me, and rouse me into a state of anger that I convert into writing. My favourite album, The Holy Bible by the Manic Street Preachers, contains a set of lyrics which are all about corruption and negativity, and about converting that anger into self-empowerment. During periods of difficulty in my life I’ve returned to that album again and again. The lyrics to my favourite song from it, Faster, capture many of the mantras I live by.

Guy MankowskiI first wanted to write How I Left The National Grid to capture, in writing, that feeling that music gave me. The mind-set of Savages and The Manics influenced my main character, the singer Robert Wardner, who uses his music to escape the bleakness of his surroundings. But the novel itself was written using various other non-lullabies.

The novel is comprised of two narratives- one, set in the 80s, following Robert Wardner’s rise and fall. The other, set in 2012, as a journalist called Sam tries to track Wardner down for a commissioned book. Whilst spending time in Manchester to research the post-punk scene I was struck by how many times the city has been bulldozed and regenerated in the last few decades. To me, the fragile, futuristic synths in New Order’s music worked as a metaphor for the fragile, futuristic living complexes that have sprouted in recent years. I felt the texture of New Order’s brittle guitars and undulating keyboard lines during the long, searching city walks I took. They inspired Sam’s more hopeful moments in his journey. I think that New Order used synths to evoke a future that then seemed impossibly utopian, given their grim surroundings in urban Manchester.

Aural utopias

In the novel Wardner fronts a band called The National Grid, who similarly try to create aural utopias on record, using whatever instruments they can lay their hands on. Magazine’s album Definitive Gaze and Ultravox’s Astradyne seemed to me the two records that had gone closest to achieving that. Neither are pristine, but their flaws make them all the most charming.
At the start of the novel Sam, and his girlfriend Elsa, are genuinely in thrall of futuristic visions about communal living, having just moved into a luxury apartment block. During the writing of these scenes I played I’m Leaving by Yourcodenameis: Milo again and again. The hard surfaces and polished textures of the song, along with singer Paul Mullen’s lyrics about living in a complex, were very evocative.

David Bowie has been quoted as the godfather of post-punk, and so perhaps fittingly his album Low was incredibly important in the creation of the book. Not least because in one scene, like in the song Always Crashing In The Same Car we see a character driving menacingly around a hotel car park, faster and faster, until a crash seems unavoidable.

How I Left the National Grid - Book ImageBrutalist surfaces

During his car journey to Manchester’s sink estates, in pursuit of Wardner, Sam listens to Joy Division’s Disorder, and he acknowledges the hard interiors of their song, as uncompromising as the unyielding, Brutalist surfaces around him. At other times he doesn’t skirt around cities, but is taken into the dark heart of them. In the scene in which his hunt takes him to a debauched London nightclub I had Marilyn Manson’s Great Big White World play in the background in the prose. The song has a synthetic, artificial, glossy feel to it, as if the arrangement is cased in Lucite. The song felt as Ballardian as the modern nightclub environment. I also used El Perro Del Mar’s Dark Night again and again as muzak during the writing of one scene in which a character experiences a comedown. The lulled vocals and the incessant repetition of that song are somehow addictive, and capture the atmosphere perfectly. This novel could not have been written without the push that such songs gave me.

Guy Mankowski was raised on the Isle of Wight. He was singer in Alba Nova, a band who were described by Gigwise as ‘mythical and evocative’. He trained as a psychologist at the Royal Hospital for Neurodisability in London. The first draft of his debut novel, The Intimates, was written when he was 21 and was chosen as a ‘must-read’ title by New Writing North’s Read Regional campaign. His second novel, Letters from Yelena, was researched in the world of Russian ballet. He was one of the first English people to be given access to The Vaganova Academy, perhaps the most prestigious ballet school in the world. The novel was adapted for the stage and used in GCSE training material by Osiris Educational. How I Left The National Grid was written after a creative writing PhD at Northumbria University under the supervision of Booker nominee Dr Andrew Crumey, and is published by Zer0 Books. Guy’s website is here, his Facebook page is here and you can tweet him on @Gmankow.

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The Undercover Soundtrack – Scott D Southard

for logo‘Demons, frustrations and betrayal’

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 Scott D Southard @SDSouthard

Soundtrack by Fiona Apple

Music can be like little time capsules. For some, they may return you to younger days, for me they return me to books. Whenever I take on a project, my creative psyche demands that I find the right soundtrack for it. And if I don’t, I might as well kiss that creative spirit goodbye. They flounder, gasping and dying like a fish out of water.

author-pic-scott-d-southardWhen I began work on my novel Permanent Spring Showers I knew I was doing something a little odd. It was a book very loosely based on a screenplay I had written years earlier, but this was going to be a very different work, not an easy adaptation. Also, I was going to present it chapter by chapter on my site. I liked to call it then a book in real time since you could enjoy the book and witness the creation of it as well. Yet, it was even more than that. Since I wasn’t bogging myself down in thoughts of sales, agents, and publishers, I was opening the door for sheer possibility. I could do anything, only limited by my own imagination.

It was so creatively exhilarating to throw off the shackles that so many of us feel when creating. And, adding in the danger that I could screw it up at any moment (for everyone to see) was just as thrilling. I was playing with literary fire. Luckily, I never felt alone in the flames.

The Muse Behind the Story

Around the time I began work on my little literary experiment, Fiona Apple had released her CD The Idler Wheel…. It’s a different kind of CD for Apple, losing her big production feel that she used to have working with Jon Brion, now simply just a piano and drums. And sometimes the piano is only keeping tempo to her singing. This put her lyrics and voice solely in the front. It gives the album almost the feeling of a therapy session as Apple deals with her demons and frustrations in each song. When she screams, she screams from her soul. You would have to be a cold person indeed not to feel it.

Permanent Spring Showers begins with an affair, a betrayal.

After discovering her husband’s affair, Dr Rebecca Stanley-Wilson has one of her own. The problem is her drunken one-night stand was with an upcoming painter named Vince. That evening inspires one of the greatest works of art, capturing the world’s attention by storm. The book is about each of the people tied to that painting and that spring of its creation. Some are lovers, some are writers, all are a little broken.

Characters breathing in the songs

I see my characters throughout Apple’s CD. Putting on the CD, doesn’t just take me back to when I was writing the work, it reintroduces me to old friends.

Let me give you an example. One character is an experimental author named Jenn Gane. Her dream is to make a new literary genre, and to accomplish that she needs an unsuspecting victim/character. Poor Steve doesn’t realise how much his life and heart is being manipulated by Jenn. Jenn is the song Daredevil with lyrics about taking from others and not worrying at all about the consequences, especially to the other individual

What about the pure creative energy of Vince? For me that is the vibe of the last song Hot Knife. In the song Apple seems to sing about obsession, but the song grows and grows as her voice multiples into different personalities almost all overcome by passions. I like to imagine that is what it is like in Vince’s head when he is creating, with the unrelenting beat of the timpani driving him forever forward.

And listen to that piano line in Left Alone. That right there is the mind of the character of Steve captured in song. In Steve’s story, he came home to find his girlfriend had moved out, leaving the apartment a mess and no note. Finding her and discovering why she left is Steve’s main focus and until it happens he is almost in a panic just like the song. Lost in hopeless and anxious energy.

I could go on and on… The fact is I needed this CD, my book demanded it, and I was lucky to find it.

CoverThe unknown soundtrack

I used to dream of the idea of collaborating on a novel with a musician, having a CD to accompany the work, both complementing each other. The funny thing is with Permanent Spring Showers, I seemed to have accomplished that with Fiona Apple. She just has no idea I did. My dream is that someday she will discover the book (and she won’t mind).

Fiona Apple seems to demand your attention throughout her CD, definitely making an album that is never merely background noise. Her heart is in every song, soaring and breaking. I like to think that each of my characters do that as well in Permanent Spring Showers.

Scott D. Southard is the author of A Jane Austen Daydream, Maximilian Standforth and the Case of the Dangerous Dare, My Problem With Doors, Megan, 3 Days in Rome and Me Stuff. His eclectic writing has also found its way into radio, as Scott was the creator of the radio comedy series The Dante Experience. The production was honored with the Golden Headset Award for Best MultiCast Audio and the Silver Ogle Award for Best Fantasy Audio Production. Scott received his Master’s in writing from the University of Southern California. Scott can be found on the internet via his writing blog The Musings & Artful Blunders of Scott D. Southard where he writes on topics ranging from writing, art, books, TV, writing, parenting, life, movies, and writing. He even shares original fiction on the site. Scott is also the fiction book reviewer for WKAR’s daily radio show Current State.

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The Undercover Soundtrack – Debbie Moon

for logo‘Music for the Revolution’

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 novelist, radio dramatist and BAFTA-winning screenwriter and Wolfblood creator Debbie Moon @DebbieBMoon

Soundtrack by Gustavo Dudamel, Michael Giacchino, Gustav Holst, George Butterworth

Music is important when I’m in the early stages of creating a screen story – it helps me establish the mood of scenes, create character, and finalise the tone of the wider world of the story. At the moment, I’m working on an action-adventure screenplay set during the Russian Revolution – think Indiana Jones meets Doctor Zhivago! – and capturing exactly the right tone is going to be crucial.

So what am I listening to for this as-yet-untitled project, and why?

DM_HS_PRINTZoyah

Our protagonist, Zoyah, is first described like this:

She’s been called a thief, a spy, a witch and an adventuress, but that barely scratches the surface. If the word had been invented yet, she’d probably call herself a superhero.’

Europe in 1917 is still very much a man’s world, but Zoyah knows how to use that to her advantage. So the piece of music that most remind me of her is Gustavo Dudamel’s Danzon No 2 from the Simon Bolivar Youth Orchestra.
Not the the right historical period or the right continent, but it feels like her – daring, playful, and smarter than you first think.

The Revolution will be musicalised

Sometimes the best music for writing screenplays to is film scores. After all, they’re all about mood too. To capture the chaos and the sense of hope and joy that the Revolution brought to Russia, I spent a lot of time listening to historic recordings by the Red Army Choir.

But my favourite piece to evoke the ‘new’ Russia is still the punningly-named Kremlin With Anticipation from Michael Giacchino’s music to Mission: ImpossibleGhost Protocol.

When Zoyah and her sidekick Sebi are recruited by the communist secret police to tackle a supernatural threat, I imagine them being marched into the awe-inspiring, intimidating palace of the Kremlin to the strains of something like this…

Things are always worse than the protagonist thinks

The thing that surprised me most while researching this project was the discovery that the Revolution was far from clear-cut. Rival left-wingers struggled for control in the halls of power and in the fields and factories – on top of civil war between ‘Reds’ and ‘Whites’, with the outcome far from certain in a nation exhausted by the First World War.

As Zoyah and Sebi return to the countryside they grew up in and see the devastation hunger, war and anti-capitalist purges have wrought, I resort to my collection of English string music – perhaps the Nocturne from Holst’s A Moorside Suite. It’s both beautiful and sad in that way that folk music often is, capturing the charm and the harshness of rural life the world over.

Spooky stuff

But no good action-adventure is complete without magic and the supernatural! Zoyah and Sebi have been tasked to recover a specific object that was lost during the Revolution, one that – whether the rationalist Reds believe it or not – is vital to the continued existence of Russia. As they pursue it across the war-torn country, they start to get glimpses of the mastermind behind the theft – who may or may not be a mythical bogeyman known as Koschei…

Koschei is a tough character to convey on paper, or in music – part dark wizard, part dirty old man, comical and yet immensely dangerous.
Thanks to a classical music radio station, I stumbled across a great album of Chinese piano music, and the way it references classical piano while still being very much its own things seems perfect for Koschei. I’ll go for Red Lilies Crimson And Bright, perhaps, as played by Yin Chengzong.

Everyone has a weakness

No dramatic character is worth writing about unless they have a weakness or a flaw – because a flaw needs to be overcome, and that means change. As we know from our own lives, changing who you are is the most difficult thing in the world, and that’s why we admire characters who overcome their weaknesses to survive and thrive.

Developing Zoyah’s character flaw, I was thinking about Indiana Jones, who, in Raiders Of The Lost Ark, goes from not believing in the supernatural to realising the Ark’s power and treating it with respect, thus surviving where the villains do not.

Zoyah is the opposite of Dr Jones – she believes so passionately in the supernatural that her the ‘real’ world is slightly unreal. As long-suffering Sebi puts it when he finally snaps:

These are real people feeling real hunger, real cold, real pain, and I don’t think you even see them. All that’s real to you is the tantalizing glint of magic just out of reach.’

FallingUntil Zoyah resets her priorities – including facing up to the unresolved feelings she and Sebi have for one another – she’s never going to be able to stop the bad guy and save Russia. And this calls for some romantic music! It’s back to early 20th Century English music for George Butterworth’s The Banks Of Green Willow, a lyrical triumph from a composer killed in battle about the time the film is set, and perfect for a realisation of true love just before the big all-action finale…

Debbie Moon is a BAFTA-winning writer for film and television. She’s the creator of the children’s supernatural series Wolfblood, which shows in almost 40 countries around the world, and has a number of film and television projects in development. She has also written a novel, Falling, short stories, and a radio play. Her blog is here and you can also find her on Facebook and Twitter @DebbieBMoon

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‘Music for the Revolution’ – Debbie Moon

for logoMy guest this week is a master of many storytelling disciplines – including screenwriting and radio as well as prose fiction. She’s currently writing an action-adventure screenplay set during the Russian Revolution, with a decidedly spooky twist. Her soundtrack includes Holst, the romantic 20th century composer George Butterworth and a haunting, melancholy piano piece she discovered on an album of Chinese composers. Best known for creating the TV series Wolfblood, she is Debbie Moon and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Glynis Smy

for logo‘I heard a song being played in an electrical store’

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 romantic novelist Glynis Smy @GlynisSmy

Soundtrack by Madonna, Roseanne Cash, Etta James, James Vincent McMorrow

Quite often a piece of music will transport me back to an emotional time in my life or a happy event and words flood into pea-brain. I don’t seek out music intentionally but often find inspiration within the lyrics or rhythm.

Music stimulates my creative juices. For my fourth novel The Penny Portrait, I tended to be more aware of music as a scene writing influence than in previous times.

10426557_10152287113790988_4736214646342535311_nI’ve been known to jot down notes in a supermarket when they are playing a piece of music that forms an image in my mind. This happened when I heard Love Don’t Live Here Anymore, being played inside a well-known electrical store during a visit to the UK. I sought out one of the assistants as I knew the original singer (Rose Royce) but didn’t recognise the version they played. It appeared the song was by Madonna. It triggered the base of a novel plot which eventually became The Penny Portrait. It is the emotional growth and survival of a sixteen-year-old Victorian girl abandoned by her parents. I could see Elle Buchanan, standing alone and forlorn and the rest is in the story.

When my father passed away I played one of his favourite pieces of music, Sea of Heartbreak by Roseanne Cash. I was living in Cyprus at the time and a dreadful wave of homesickness came over me. I altered the town where the novel was set. I took it back to my birth town, to where my father now rested by the sea. I had walked along a spot where we became trapped by a returning tide when I was a child and recalled how he carried me on his back to safety. This was where I eventually took my character. To the place my father had been my hero, to where I played with my best friend who passed away when we were 36 years old, and to the place where I walked with my boyfriend (now husband). A rugged pathway of emotions beside the sea – a sea of heartbreak and joy.

Return journey

The song triggered so much emotion in me that the decision was made for our return to the UK. In 2013 I walked along the path to the area I remembered and knew it was the right place to write my character’s journey through a difficult life. Elle Buchanan finds friendship here, she falls in love and also loses a friend in the area.

Browsing through Madonna’s video selection a few months later, I stumbled across, Frozen. Although I was writing an emotional scene at the time, another was triggered by the words at the start of the song. My characters Elle, and Matthew, took me on another journey and during that journey I created a project for Elle to pursue but couldn’t get her to grasp what I needed from her. She obviously prefers to listen to Etta James, as when I played Damn Your Eyes from Mother’s collection, Elle sent me images of what I needed to write so she could open up her artistic soul. A whole chapter and an ending came from a mix of inspirational words and visions they conjured up for me. Elle couldn’t express her feelings for Matthew during the creation of a painting and left only black eyes as windows for his soul. Her French friend despaired of her and basically told her she had frozen her soul to ignore the facts.

Kindle front ppWhile researching the railway service of our town I played my YouTube listing as I browsed endless snippets of information but all I gathered were dates. Useful but not the wow factor I required to inspire me that particular day. Around two hours into the project I tapped my foot to This Old Dark Machine by James Vincent McMorrow. Bam! The chapter of Elle and her mentor Angus, rose to the fore, although the words did not relate to what I’d been researching the title and rhythm of the song triggered a chapter about the first steam train ride for Elle.

Glynis Smy lives in the UK, in the seaside town of, Dovercourt, Harwich. She writes historical romance with a twist. The Victorian era fascinates her and she says the best part of writing a novel is often the research. She also writes poetry and short stories. Proud writing moments in her life include being shortlisted for the Festival of Romance Fiction 2014 New Talent Award –  and reaching the second round of the Amazon Breakthrough Novel Award 2014. When she is not writing, she enjoys making greetings cards, cross stitch, fishing and the company of her granddaughter. Her blog is here, and you can find her on Facebook and Twitter @GlynisSmy.

 

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‘I heard a song being played in an electrical store’ – Glynis Smy

for logoI’m particularly pleased to welcome this week’s guest as I seem to have known her for all the time I’ve been zipping about the internet. When I was first blogging, and launching the original Nail Your Novel, she was writing and blogging too. Now she’s got five novels to her name, and one of them was shortlisted for the Festival of Romance fiction 2014, writing what she describes as historical romance with a twist. But what about the music, I hear you ask? Yes, it’s a pervasive influence, as you’ll have guessed from the headline of this piece. And among her choices is an unorthodox version of a well-known song, so she ticks those boxes for me too. She is Glynis Smy and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Audrina Lane

for logo‘Music for looking into the past’

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 Audrina Lane @AudrinaLane

Soundtrack by Berlin, Wham!, Rick Astley, Robin Beck, George Michael, Bill Medley, Jennifer Warnes, Patrick Swayze

As I started 2013 and my 40th birthday I started to think about what I still wanted to do with my life, call it a mid-life crisis bucket list. It was a time to look back into my past from an 80s adolescence to my life today and wonder if I had made the right choices. Music has always been my life blood from watching Top of the Pops in the 70s and wanting to be a dancer in Hot Gossip, right through to the fact that I always have music on in the office, house, car and headphones. Wherever I was working on my novel the music was there.

IMG_0086So on my bucket list I wanted to write a book, my first attempt at this was in 1992 after suffering my first break-up. It was called Take my Breath Away and straight away you can see that the song by Berlin was my starting point. The mood and lyrics of the song a haunting epitaph to lost love. Afraid of rejection of my teenage romance novel I shelved it.

Happily in February 2013 I found the manuscript and set to work to achieve my dream. The title of my novel is a song Where did your heart go? By Wham, its poignant lyrics and soulful vibe pointed me in the direction my story was going to take. With the local radio station on I decided to bring my idea from 1992 into the present and include music that I loved from the 80s. By setting my novel in 2013 my main character Stephanie Eden, widow, single mother and local radio station DJ is 40 years old. She grew up and experienced love for the first time in 1988. The song that made me remember my first love was First Time by Robin Beck. I listened to this track constantly as the lyrics evoke that breathless yearning when you are hit by love. I needed the music of the era to awaken my memories.

Stephanie’s daughter Charlotte is 16 in 2013 and just experiencing her own break-up. Stephanie remembers her diary from 1988 from when she was 16 and about to embark on her first relationship. Handing the diary to Charlotte she lets her read about how first love was in 1988 compared to 2013. My favourite scene is Stephanie’s first kiss with Lifeguard James, unexpected and beneath the water in the local swimming pool where they met.

I felt his lips on mine, soft and firm against the liquid coolness of the water. We were suspended in a timeless moment’

Stephanie yearns to be a DJ so for every romantic event in her relationship a song comes to mind and for this kiss it was Whenever you need somebody by Rick Astley. Upbeat and hopeful like my character feelings.

You feel for Stephanie when she realises that James is moving away. I needed a song to express the yearning and desperation she feels and I listened to A different corner by George Michael, the lyrics and piano on the track highlighting her yearning and the decision she made that led her to James in the first place. Stephanie has never moved on from her first love, despite her short marriage and the birth of her daughter. James has kept appearing in her memories every time she hears a song from the past. How many of us have experienced the same thing when you hear a certain song?

Music was such a powerful memory tool and one that I could never silence no matter the pain it bought.’

Charlotte loves music, influenced by her mum’s career and also her own dreams of becoming a dancer. I hope you are all seeing the parallel’s in my own ambitions?? At a dance competition Charlotte meets Mitchell and with a shared love of the film Dirty Dancing they re-create the iconic dance to the song I’ve had the time of my life, it becomes the first song of their relationship.

She could almost hear the music in her head, just louder than the beating of her heart as they moved together in perfect synchronicity.’

BOOK COVER 2The book follows both characters through their sexual awakening and each of these scenes was easier to write with a song playing for the characters. For Stephanie and James I found it in the beautiful lyrics of George Michael’s Father Figure, for Charlotte and Mitchell with She’s like the wind by Patrick Swayze. As Stephanie watches her daughter falling in love she wonders if she should give love one more try?

In a way the soundtrack of my teenage years became those of the characters I was bringing to life and recreated that magical feeling of first love.

Audrina Lane lives in Herefordshire with her partner and two dogs. She works full time for the Herefordshire Library service which means she is surrounded by books every day. Where Did Your Heart Go? was released in July 2013 and her second book, Un-Break my Heart, was released in December 2014. She is currently working on the third. Find her on Facebook, Twitter @AudrinaLane and her website.

 

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‘Music for looking into the past’ – Audrina Lane

for logoMy guest this week brings a real blast of the 1980s, with a bright red emphasis on romance (I guess it’s that time of year). She drew on the soundtrack of her adolescent years to create the love-torn characters in her novel, and the heart of the story beats to George Michael, Berlin and Patrick Swayze. She is Audrina Lane and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Karen Wojcik Berner

for logo‘Music for tragedy, coming of age, romance’

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 award-winning journalist and contemporary women’s fiction author Karen Wojcik Berner @karenberner

Soundtrack by Icicle Works, Peter Gabriel, The Indigo Girls, The Doors, The 5th Dimension, Bach, Phil Collins

I was a singer way before I was a writer. Nothing on a grand scale, although I was asked to try out for the Lyric Opera children’s chorus, which I turned down because I hated opera and didn’t recognize the value of the musical education I would have received. What did I know? I was only ten. I settled for local variety shows, high school musicals, and choirs. Wise? Probably not, but then I wouldn’t have discovered writing.

IMG_2272Only natural then that music helped me create the Bibliophiles series, which revolves around members of a classics book club. Not your typical series, each book stars one or two of the book club members and tells their stories. Tragedy. Coming of Age. Romance. You never know what you’re going to get.

Small and helpless

The first is A Whisper to a Scream, which I’m sure you’ll recognize as the title of an Icicle Works song from the 80s. Most people think A Whisper to a Scream is a mystery novel, but if you listen to the lyrics of the song, it’s really about feeling small and ‘ever helpless’ in the face of a greater force, which is exactly what the book is about.

Overwhelmed stay-at-home mother of two Sarah Anderson feels adrift in a sea of diapers, Legos, and school projects. Her workaholic husband is never home, and she longs for just 10 minutes to herself to reclaim the person she was pre-kids. When she finally gets out of the house and joins a classics book club, she meets Annie Jacobs, a public relations executive. Annie’s infertility treatments send her spiraling out of control. What starts as a mere notion, a small whisper of the promise of motherhood, consumes her, whipping her into a frenzy.

The song’s happy dance beat underscores the need to surrender to circumstance, something both Sarah and Annie eventually do at the end.

Tell me Y

Having never written from a male perspective, I was worried Annie’s husband John could easily become a stereotype. After all, who do you think of when a couple is dealing with fertility issues? Not the guy.

When John sensed his marriage was coming undone, I’d listen to Peter Gabriel’s tender, yet melancholy Blood of Eden, which perfectly captured what John felt as his wife spun out of control in a vortex of hormones, emotion, and deep craving that he cannot understand. He missed the intimacy of their life before sex became mechanical.

Was this guy married to Annie too? He tipped his glass to Peter Gabriel, comrade in misery.’

A Whisper to a Scream
Several years ago, I bought the Indigo Girls album Rite of Passage. One track is Galileo, which talks about reincarnation and how many times must we go around until we finally get this life thing right. But instead of reincarnation, I envisioned a young woman who kept reinventing herself from location to location. That became Until My Soul Gets It Right, about another classics book club member, Catherine Elbert.

She was a fraud. Had been for years.’

Until My Soul Gets It Right

I’d wanted the final book in the series to be a love story. Opposites attracting is always fun, so why not bring together fastidious Anglophile computer programmer Thaddeus Mumblegarden IV and the free-spirited daughter of Hippies Spring Pearson in A Groovy Kind of Love?

The chance to delve into the 60s and the Pearsons’ background was too much fun to resist. Only a small child when the Hippies embarked on their psychedelic journey, I was drawn to their sense of freedom, something I had never felt growing up as an only child.

A-Groovy-Kind-of-Love-800 Cover reveal and  PromotionalEvery day while writing Spring’s childhood, the velvety smooth vocals of Jim Morrison in The Doors’ classic Light My Fire showed me a window to their world and explored quintessential sixties sounds. I mean, does anyone use an organ like that anymore? Aquarius belted out by the 5th Dimension and originally from the musical Hair signified pure freedom. Anything was possible if you opened your mind and let the sunshine in. That bass line underscores the funkiness of the dance. You can’t help but move.

That’s how I felt about the Pearsons. Sure, they might be potheads who left their eleven-year-old daughter in charge of their juice bar, but you can’t help but like them.

In contrast, Thaddeus’s family is traditional, and he, himself, is more formal. The Brandenburg Concertos played on repeat while writing his chapters. They helped me focus on structure and complexity. While driving, Thaddeus puts on the local classical music radio station hoping for Handel or a medieval madrigal.

Instead one of John Cage’s twentieth-century avant garde sonatas accosted him, which he immediately turned off with disgust. Better no music than that trash!’

A Groovy Kind of Love

Music helps my imagination find its sense of time and place. It’s almost hypnotic. As soon as one of my inspiration songs plays, I’m back in the 60s with the Pearsons, bouncing from coast to coast with Catherine, or drinking scotch with John. I really cannot write without it.

Karen Wojcik Berner writes contemporary women’s fiction, including the Bibliophiles series. An award-winning journalist, her work has appeared in several magazines, newspapers, and blogs, including the Chicago Tribune, Writer Unboxed, Women’s Fiction Writers, and Fresh Fiction. She is a member of the Chicago Writers’ Association. When not writing, she can be found on the sidelines of her youngest’s football or lacrosse games, discussing the Celts with the oldest, or snuggling into a favorite reading chair with a good book and some tea. Find her on Goodreads, Facebook, her blog, Google +, and Twitter @karenberner

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Music for tragedy, coming of age, romance – Karen Wojcik Berner

for logoMy guest this week says she was a singer long before she was a writer, and when she started writing, music was a natural place to find story inspiration. She writes a series of novels based around the members of a book club, and many of the titles and characters come from tracks that have been special to her. I took unashamed pleasure in seeing Icicle Works and Peter Gabriel make an appearance – the latter with Sinead O’Connor (gasp). And one of her books was inspired by a track by Indigo Girls, which talks about reincarnation and the soul reinventing – possibly a familiar idea to longtime visitors here. Anyway, she is award-winning journalist and contemporary women’s fiction author Karen Wojcik Berner and she’ll be here on Wednesday with her Undercover Soundtrack.

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