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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’s post is by contemporary romance author Jan Ruth @JanRuthAuthor
Music and books; possibly the best combination for legitimate daydreaming. Loosely speaking I’m in the ‘romantic genre’. I always balk at this description, it is so restricting and has been my downfall in the past when submitting to agents and so on. ‘It’s… not quite romance is it? And why are you writing it from the male point of view half the time?’ Well, like my musical muse, I like to mix it up a little. From the emotional scenes, from the windswept Celtic landscapes (Enigma, Clannad, Craig Armstrong, Sarah Brightman); to the drama of arson, relationship conflict and fast cars, (Morrissey, Kings of Leon).
I think I began using headphones as a buffer to block out those bloodcurdling screams of children playing nicely, or of husband making a noisy clatter in the kitchen (all devised to make me feel guilty for sitting at the typewriter). Of course, as this process developed, I began to get choosy as to the exact soundtrack. When I began to write Wild Water I used Roxy Music as a shameless buffer to domestic chaos. Don’t laugh, this was 25 years ago and it was the only cassette that worked in the machine. I’d like to make a point here that Bryan Ferry has nothing to do with my fiction, and in no way has he influenced the story but his crooning voice and the sheer volume was a combination which worked for me at the time, and in fact led to a whole new area of inspiration.
Now of course, I am so much more sophisticated, with my tiny earpieces and my subscription to Spotify.
I can drift into a trance merely be selecting the required track and outside noise does not penetrate my concentration. I am distracted instead now by the internet. I received an email once from my husband, who was apparently, standing on the doorstep holding his finger on the doorbell and clearly very cross indeed as he had forgotten his keys, and was I DEAF?
I find music a rich source of inspiration. I can listen to the same track and get back into a scene, almost like hypnosis. If I had to pick one single artist it would have to be Enigma. My story settings are Celtic; not that I write in a historical genre but all my settings are rooted in Snowdonia. Someone once described my backgrounds as separate characters in their own right – and I find Enigma dovetails very nicely into this concept with their spiritual chanting and long instrumental pieces which, although described as ‘new-age’, cross frequently into other genres, much like my writing!
I live in the perfect landscape for love. The endless complications of relationships form the basis of my stories and I think the challenge as a writer is to bring a fresh perspective to what can only be described as the well-worked themes of romance; although I do like to throw in the odd spot of domestic violence and arson, so maybe not your average visit to North Wales.
Are lyrics distracting? I tend to prefer instrumental pieces but then Sarah Brightman’s Gothic album Symphony has been a rich source of visualisation for me too; dramatic and haunting, her vocals are awe inspiring. Midnight Sky was very influenced by this album. The dark track Sanvean fitted the bereaved mood of the main male protagonist perfectly. I think I listened to it more than 200 times, and I still get goosebumps from the intro. Her mix doesn’t suit all scenarios though, and if I’m writing from a male viewpoint I am frequently drawn to The Kings of Leon – who isn’t? A rock buzz can be very helpful for fight scenes or maybe driving fast cars in an agitated state. The problem with this one is that frequently, it is me who is driving a not-very-fast-car, in an agitated state. Playing my ‘writing music’ in the car brings heaps of trouble; as soon as I step away from the keyboard and drive begrudgingly to the supermarket, I am besieged with ideas and snippets of astounding dialogue, all of which I try to remember or scribble down on the shopping list as I browse the shelves and yes, I usually end up scowling at the top ten paperbacks in there too.
My work in progress is about a 50-year-old clown of a man with a fixation for Morrissey. In the book, his fixation adds to the downfall of his marriage.
…For less than a minute she’d glared at his carefully guarded face, then suddenly made a lunge for his old guitar and slung it through the open bedroom window. Some of his Morrissey records followed, shimmering like black Frisbees down the garden.
That was the last straw, and she knew it.
My husband loathes Morrissey too…
Jan Ruth has written three full length novels; Wild Water, Midnight Sky and White Horizon, plus a collection of short stories, The Long and The Short Of It. She is a regular contributor to North Wales Yes magazine and is currently writing her fourth novel, Silver Rain. Find Jan on Facebook, Twitter and her website.
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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 my guest is urban fantasy writer Paul Anthony Shortt @PAShortt
Music is one of the most vital tools I have as a writer. The visceral feeling when a particular piece strikes me just right is astounding, whether it’s a film score or a favourite song. When I write I picture the scenes as though they were a movie in my head, and for me, the score of a movie is often as important as the acting or the scriptwriting. So it felt completely natural for me to use that response to music to help my writing.
When writing Locked Within, I listened to a very specific selection of music to get me into the right mindset. In addition to my ample collection of film scores for action scenes and keeping both my own pace and the pace of the writing as fast as possible, I used certain tracks to help focus on certain aspects of the book.
A city that doesn’t want to be saved
For the suffering of New York’s clued-in citizens under their supernatural rulers, I used a cover version of We Don’t Need Another Hero by Northern Kings. Their version has hard, heavy guitar riffs and a desperate, pleading chorus that evokes such a sense of passionate resignation. It was perfect for keeping me grounded in a city that doesn’t want to be saved, even though it needs to be so badly.
As my hero, Nathan Shepherd’s theme song, I chose Locked Within The Crystal Ball, by Blackmore’s Night. It has a haunting quality to it that fills my mind with images of warriors in different times. It resonates so perfectly with my story of a reborn hero trying to remember his past lives and stop an evil monster.
Finally, to remind myself of what my hero was fighting for, and to strengthen my mental movie’s closing scene, I kept the final track from Sarah Brightman’s Fleur Du Mal album on my playlist. It’s a march that starts low and builds to a triumphant fanfare, helping symbolise, for me, my hero’s acceptance of his destiny and role as New York’s protector.
Quite simply, I don’t think I could write if I didn’t have music. There are times I wish my readers could hear the music I have in mind for each scene, because part of me wonders if they’re missing out on an element of the story that I just can’t put into the page. When I write, I try to put that emotion, that raw power I feel from music, into the words of my story. If I can bring about those feelings in a reader, even for a moment, then I know I’ve done my job.
A child at heart who turned to writing and roleplaying games when there simply weren’t enough action figures to play out the stories he wanted, Paul Anthony Shortt has been writing since he was a child. Growing up surrounded by music, film and theatre gave him a deep love of all forms of storytelling, each teaching him something new he could use. When not playing with the people in his head, he enjoys cooking and regular meet-ups with his gaming group. He lives in Ireland with his wife Jen and their dogs, Pepper and Jasper. Their first child, Conor William Henry Shortt, was born on July 11, 2011. He passed away three days later, but brought love and joy into their lives and those of their friends. Paul’s first novel, Locked Within, is published by WiDo Publishing. The sequel is out later this year. Find him on his blog, Facebook and Twitter @PAShortt
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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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- All content copyright Roz Morris 2011, 2012, 2013, 2014. 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'