Posts Tagged undercover soundtrack

The Undercover Soundtrack – Stephen Weinstock

for logoHidden forms that tell a story

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 theatre composer and debut fantasy novelist Stephen Weinstock @s_weinstock

Soundtrack by Frank Zappa, Igor Stravinsky, Stephen Sondheim, Alban Berg

I greatly admire Roz Morris’s wonderful combining of writers and their musical minds. I am excited to contribute because I am a composer, pianist, and dance accompanist who crossed over to write a fantasy series called 1001: The Reincarnation Chronicles. Before writing every day, I devise a playlist that is an eclectic mix of styles, and I wanted to explore how this music affects my writing. But no song expresses a character; no instrumental sets a scene in my book. So why listen to music when I write?

From scene to song

headshot bestOf course music plays a part in Book One of 1001: The Qaraq – a group of souls who travel together from lifetime to lifetime. In each chapter, one of the qaraq members recalls a past life story; the present day action acts as a mainframe to enter into the memory, like the Scheherazade framing tale device in The Thousand and One Nights. Having worked in musical theater, I channel the techniques used for moving from a spoken scene in and out of a song to accomplish this shift. And some of the tales involve music: one character remembers his incarnation as Vaalat, an East African mallet instrument called a xalafon, which transfixes its audience.

On reflection, I realize the main influence music has on my writing is through the idea of hidden forms. As a composer, I love complex structural devices that we don’t hear in the music, but which shape the score. This love inspired me to construct 11 hidden structures that unify the 1001 series. Here are four examples, along with musical samples of corresponding hidden forms.

Past in the present

1. Embedding a past life story into each chapter is not so hidden, but it’s not obvious reading the first book that there will be 1001 chapters and 1001 lifetimes in the series, God help me! Frank Zappa, master musical parodist, loved to embed famous pieces of music into otherwise pop sounding tunes. In Status Back Baby, a bubble-headed high school kid’s lament is interrupted (at 1:27) by an electric quotation of the opening of Stravinsky’s ballet score Petrushka, then, with a cheerleader’s whistle, the jaunty song returns, mocked by the juxtaposition of kitsch and class.

Zappa, an incredible guitar virtuoso, could also be lyrical and breathtaking, with hidden rhythmic complexity, such as the beautiful Watermelon in Easter Hay.

Motifs

2. In a score, motifs or longer melodies can recur in obvious or subtle ways. In Stephen Sondheim’s musical Passion, a motif is varied incessantly, to represent the character Fosca’s obsessive, neurotic nature. In Fosca scene, we first hear it at 2:13, and it then snakes its way throughout the scene. Similarly, for each of my central characters, I reiterate a set of traits, a gesture, and a literary voice in all their incarnations. Ooma, the sexy, troubled present day incarnation of the orgy-driven Queen of the Scheherazade tale, recalls her lifetimes in a haunted stream of consciousness. Sometimes I want these tropes to help identify the central character in the incarnation; sometimes they are hidden and just help me create the character. Sahara, the main character, likes to play with her hair: in 17th Century France, we recognize her as she curls a lock of hair around her finger; but in the Ediacaran Era, she is disguised as a two-inch organism with filaments that wave in the waters on the sea floor.

Hidden forms

3. The great master of the hidden form was Alban Berg, the Viennese composer whose opera Wozzeck rejected conventional structures like arias and duets. Berg composed each scene of this story, about an oppressed soldier who descends into madness, around a particular structure supporting the dramatic action, some old forms like fugue or march, others more abstract, like the inventions of the last act. In Wozzeck, III, 2, when Wozzeck murders his wife Marie, the hidden form of Invention on a Single Tone reveals itself (at 4:45) with a chilling crescendo. In Wozzeck, III, 4, the Invention on a Hexachord accompanies Wozzeck’s drowning (circa 3:00) as the chord washes up and down in the orchestra. Creepy brilliance.

Influenced by Berg’s superimposition of forms onto a narrative, I placed in each past life story a hidden reference to one Arabian Night. The Thousand and One Nights contains parts of stories; remember that Scheherazade interrupts her storytelling every morning to save her head, so each night she tells only part of a tale. In my writing process, I use the Nights references to add local color or suggest a character’s inner thoughts. At times I lift a whole plot line to guide a past life tale: the magical roukh from Sinbad flies in and out of the qaraq’s mythic memories of their lives on the Red Isle.

frontcoverBackwards

4. Despite Stravinsky’s revolutionary status, he also followed Berg’s lead and used hidden techniques like retrograde, where you take a sequence and use it backwards, or the palindrome, where a sequence is the same forwards and backwards (Madam I’m Adam, or, qaraq!). In his opera The Flood, Stravinsky depicts the deluge structurally as a palindrome (at 2:33): the seas rise with orchestral tremolos for the storm, then the music retrogrades with the receding of the waters. In 1001, the chronological order of the past lives presented in the series is a karmic palindrome. The first 500 lifetimes create issues among the characters, and the last 500 are the karmic consequences, resolved in retrograde order. If the incarnation in lifetime #251 murders incarnation #252, then in lifetime #750, the victim forgives the murderer’s incarnation #751. That’s a hidden form!

If you haven’t stopped reading and called my local asylum to come fetch me immediately, I hope you might be excited to go hunting for hidden forms, or even use them in your work. They help generate ideas you’d never think of otherwise, and at the very least they have a subconscious effect on the reader. Maybe that’s how my daily playlist influences my writing; it’s a hidden form working on a subconscious level. An Undercover Soundtrack!
Stephen Weinstock is the author of 1001: The Reincarnation Chronicles. You can find more information on the series, more articles on writing, music, and reincarnation, and links to online tales here . Find Stephen on Facebook and email: drstephenw@comcast.net. 1001 will be an 11 book series, contain 1001 chapters and past lives, and take the rest of Stephen’s life to complete. Musically speaking, Stephen worked for years as a composer in the theatre. He won his 15 minutes of fame for the experimental sound-theatre work Mt. Quad at San Francisco’s Magic Theater, developed and team taught the first curriculum for opera/musical theatre writing at New York University, and created music for dancers at the Martha Graham School of Dance, Juilliard, and LaGuardia Arts HS (the ‘Fame’ School), where he continues to bring young dancers to physical, emotional, and spiritual ecstasy every day. Find him on Twitter as @S_Weinstock.

SHORT BREAK The Undercover Soundtrack will take a short break but will be back in a couple of weeks.

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Hidden forms that tell a story – Stephen Weinstock

for logoYou can’t read much about writing advice before you trip over an essay about story structure, and how it works invisible magic on the reader. My guest this week has used sophisticated musical structures as the skeleton of his fantasy series, a series of nested reincarnation tales inspired by The Thousand and One Nights – and his influences range from Alban Berg to Frank Zappa. For him, music does not so much conjure up a scene or a character as an entire shape, of how an idea moves into a story and where it eventually goes. He is uniquely qualified to do so, as he is a composer, pianist and dance accompanist for musical theatre with the dance faculties of UC Berkeley, Princeton, Juilliard, and the ‘Fame’ school (though he has not yet said if he is reincarnated). Stephen Weinstock will be here on Wednesday with his Undercover Soundtrack.

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The Undercover Soundtrack – Dianne Greenlay

for logo‘Spurred by the song’s rhythm, my typing fingers flew’

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 historical action/adventure novelist Dianne Greenlay @DianneGreenlay

Soundtrack by Carl Orff, Dvorak, Poitin, Immediate Music, Samuel Barber, Moby

Quintspinner – A Pirate’s Quest is an adventure set in the pirate-infested waters of the West Indies, 1717. The story opens with William, a young man who is searching for his older brother and his father, both of whom have not returned from the pub the night before. When I write, I usually have a scene playing out like a movie in my head and I know that my word choice is strongly influenced by background music.

Therefore, wanting this first scene to be one of ominous and rising tension in the chill of the pre-dawn semi-darkness, I listened to Carl Orff: Carmina Burana, O Fortuna. It provided the perfect musical setting for the sense of building panic which begins in Chapter One and which peaks in an unexpected incident at the end of Chapter Two. And like the title of the music, with that incident, William’s fortune is about to change forever.

Author photo[1] - CopyA sinister ring

My main protagonist – Tess Willoughby – a young woman from a privileged home in London, is the daughter of a well-to-do physician, who unexpectedly witnesses the murder of an old seer. Coming into possession of the dead woman’s odd ring – an ancient Spinner ring, known by the locals as the Ring of Prophesy, she is wrongly accused by her father of having stolen the ring, and soon, by her father’s arrangement for the family, she becomes an unwilling passenger on a merchant ship bound for Port Royal, Jamaica.

For Tess, this is the beginning of a coming-of-age nightmare unfolding in a world that is completely foreign from everything that she knows. The daring sea journey begins, and Dvorak’s Fourth Movement from The New World Symphony painted the background for me as I captured the events along the brave, yet hazardous journey.

There will be dancing

William, meanwhile, also finds himself on board a ship and at the mercy of a sea-hardened captain and crew. In my research about the lives of sailors and pirates in the eighteenth century, I’d read that dance was a way in which the sailors coped with boredom at sea, and presumably, I thought, the copious amounts of grog that they drank gave their feet wings, if not rhythm. Dance was an activity of fellowship, and at times, a competition and a way of showing off.

The challenge given to William by his captain is to provide an evening of entertainment that is meant to lower the dangerous level of mounting tension between two acrimonious sailing crews forced to share one ship. The song, The Congress Reel, is an old Irish reel meant for the flute, fiddle and drum. That was a perfect, almost mandatory accompaniment for writing this scene, as those were the instruments that would have been available to the crew members. Although there are many versions of The Congress Reel, the frenzied tempo as used here by Poitin was just as I envisioned the sailors’ dance to be sounding like.

As I wrote the dance scene, the music filled my head and, spurred on by the song’s rhythm, my typing fingers flew over the keyboard. I could feel the sailors’ tensions dissolving and much to my surprise, during this dance scene, Mrs Hanley, another favorite character – a cheeky, middle-aged woman – showed an unexpected flirtatious side to her that came to have great significance in the plot later on.

A rhythmic splash

A pivotal point in the story is the sea battle in which the merchant ship that Tess and William are sailing upon is overtaken by a brutal pirate crew. The pirate ship’s approach is one of stealth until the last moment:

There it is again! A rhythmical splash, not unlike the ocean’s melody, a soft regular swish as their ship sliced through its surface, but this sound lagged ever so slightly, as though it were a half a beat behind their own.

And then it hit him. At first it was just an uncertain whiff. A faint tendril of pernicious stench, full of human decay, rot, and unwashed flesh. His nostrils flared involuntarily and he swallowed back his stomach’s attempt to empty.

William’s heart began to pound so hard in his chest that it felt as though it was knocking the air right out of him. He whirled on Smith. “Sound the alarm!” he hissed.

I needed some commanding music as explosive as the desperation of the life-and-death ensuing battle that I was next writing. To me, there is nothing more powerful than a full orchestra backing an enormous choir singing in Latin and Immediate Music’s Lacrimosa provided that. I could hear the roar of cannon firing, could smell the gunpowder, could feel the burn of the salty sea spray on my lips and in my eyes, and could hear the courageous screams of the men in battle, as the details appeared on my computer screen.

quintspinner ebook cover new1dimensionsFurther into the story, I was writing a softer scene in which characters and readers alike were forced to say a sad farewell to Da’, William’s much beloved father. Adagio For Strings by Samuel Barber played in the background, bringing me to tears as I wrote. I believe that my choice of words touched my readers as deeply, as I have since received comments from readers such as this: ‘This book kept me on the edge of my seat. It even made me cry.’

No frills

However, not all is heart pounding action or melancholy in Quintspinner. A happy ending is my preferred ingredient for every successful story and this tale is interspersed with laughter, folk wisdom generously and wryly doled out by Mrs Hanley, and life lessons gained by all. As I was wrapping things up, I needed to hear something that was upbeat but not frilly, and yet something that hinted to me that the story was not quite finished, that there would be much more adventure brewing in Tess’s and William’s future, and I composed my last few chapters while gaining inspiration from the urgency of the beat and melody of Extreme Ways by Moby (which has since been chosen to be the closing theme music for the Bourne movies).

All in all, these music pieces transported me to a magical time and place and provided me with the vivid images and emotions that I needed to capture the story. Music was indeed the magical ingredient.

Dianne Greenlay is a debut author. Her historical action/adventure Quintspinner series has proven to be wildly popular with readers on Wattpad. Greenlay is also the author of The Camping Guy, which is available as both a short story and a one-act comedy (live theater script). Although she lives most of the year on the land-locked Canadian prairies, Greenlay enjoys traveling and frequently can be found in tropical climates hiking, cave spelunking, snorkeling, and sailing while researching historical sites in preparation for her writing. Her website is here, and you can also find her on Facebook and Twitter @DianneGreenlay.Dianne is a member of the League of Extraordinary Authors.

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‘Spurred by the song’s rhythm, my typing fingers flew’ – Dianne Greenlay

for logoMy guest this week has a taste for the adventurous. Her novel is set in the pirate-infested waters of the West Indies in 1717, and her characters are unwittingly pulled into a hazardous sea journey. The music that sustained this imaginative voyage is epic and foreboding, but not without its lighter elements. My guest discovered in her research that sailors used dance to ward off boredom on the interminable days at sea, so she wrote a scene to the soundtrack of a reel. But it became more than dance; when the characters shrugged off their tensions they began to behave in unexpected and delightful ways. In case you’re imagining it’s all lace, beards and cutlasses, though, there’s a distinctly modern note at the end: Moby makes an appearance (no, not the whale). The author is Dianne Greenlay (one of my co-conspirators at the League of Extraordinary Authors) and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – JW Hicks

for logo‘A lyric; a tune; a fragment; a thrilling chord-run’

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 quirky speculative fiction and award-winning short story writer JW Hicks @TriskeleBooks

Soundtrack by Bedrich Smetana, Aaron Copland, Beth Nielsen Chapman, Tallis Scholars, Alison Krauss, Soggy Bottom Boys, Hans Zimmer, Lisa Gerrard

Most of my better ideas are sparked by music. I have a radio in every room – yes, every room, and a disc player close to where I write. I hear a lyric, a fragment of tune, a thrilling chord-run in a classical piece, and visualise a character, feeling him or her and knowing something of their lives. That exciting moment when ideas come is a buzz that never fails to thrill. My mind is filled with the promise of a story hovering within my grasp and just dying to be told, and I shoot to the moon on an adrenaline high. Who needs drugs if ideas can make you feel like that?

jane hicks2Captured

But those sparked ideas are will-o’-the wisps; here and gone in an instant. If they’re not captured on paper or tape they’ll fly away – into another writer’s mind perhaps. I know what it’s like to lose an idea and  try in vain to recapture it. Lesson learned, I keep a notepad at hand at all times. I’ve even run soaking wet from the bathroom to scribble a few damp sentences on the pad kept on my bedside table. Crazy, I know, but once they take flight, those ideas are lost forever.

When I’m deep in writing mode and the seam runs out, I, like Worzel Gummidge, swap my writing head for a go-do-something-else head. I might clean the cooker, scrub the bathtub, or brush the cat’s black-velvet fur: necessary but easily put-off-able chores. (Have you ever tried brushing an unwilling cat?) As I clean or brush I listen to music suited to the seam that ran dry, hoping it will oil my writing wheels. I look on it as an equation: a good match between music + writing = a satisfying flow of ideas/words. In my case, most often the ploy works, the seam opens and I see my way forward.

Worlds
My debut novel Rats is a book of speculative fiction – SF, Fantasy, Dystopian? All three, if truth be told, but hopefully suitable for both YA and general readers. Rats is a journey from one world to the next – beginning in the future, ending in the past. In one world my protagonist is Bitch Singer – fighting a dictator – guerilla style. In another she is Dorrie Hart, housewife and mother – carer to a speech-impaired child. Which world is real – which life is true? And why does she wake each morning crying for a lost lover – a lover she is determined to find.

Bedrich Smetana’s Vltavaa tone painting used to evoke the sounds of one of Bohemia’s great rivers, is the music that most suits the Wilderness chapters in Rats. Bitch Singer of the Whip Tails dreams of escaping from the Ruins and the rat-hunting troopers. Sharing that dream of freedom, her clan heads for unoccupied territory, the Wilderness, where Dictator Templeton has no sway. For me, that yearning, that dream of freedom is encapsulated in Vltava. In the joy of the river’s run and the surges of gathering strength as it flows through the forest, I am Bit, heading for the Wilderness with her clan. Hearing Vltava places me there, climbing the hills, sleeping in the forests; searching for a refuge where Rats can live free.

Solitude
Music inspires, give impetus, gives insight, but it’s the hard graft of putting words on a page that is the truth of writing. For that I need to be alone and in a quiet place.

Place is all-important. At present I write in a room with a good view of the sky. Living at the top of a hill, my sky is high, wide and handsome. Today it’s cloudy but not flat-dull, just a patchwork of grey clouds ranging from dove to near charcoal. I watch as they thin to expose hazy blue streaks when just an hour ago they had thickened to an indigo frown. Day moods and stormy night moods are stored in my memory, ready to add texture to my prose.
Emotion runs strong in Rats, like the river Vltava.

Aaron Copland’s Appalachian Spring is an inspiration for forging the clan’s new life in the Wilderness. I love its peace and its joy – the sounds of a new beginning.

For deep emotion I listen to Beth Nielsen Chapman. Sand and Water got me in the mood to write a particularly harrowing scene in Rats, just as Allegri’s soul-quivering Miserere saw Bit through her traumatic journey into the unknown.

Rats Cover LARGE EBOOKIt’s not all gloom and sorrow in Rats, Alison Krauss singing Down to the River to Pray helped write the homely scenes where my freed Rats attempt to throw off the pall cast by Templeton. And let’s not forget the Soggy Bottom Boys’ Man of Constant Sorrow that jogged me through Bit’s extraordinary new life.

Last but not least I depended on the music score of Gladiator composed by Hans Zimmer and Lisa Gerrard, to give life to certain action sequences in the novel. In fact the whole CD fits Rats perfectly – death and hunting, a Rat’s life in just three words. I still watch Gladiator, and listen to my CD of the theme music, thinking of my rebellious freedom fighters and especially of Bit, sent unwillingly on a traumatic journey into the unknown.

JW Hicks, a long-time story teller and writer of quirky tales. Her first love is speculative fiction. Her mentors – John Wyndham, Robert A Heinlein and CJ Cherryh. A prize winning short story writer, with success at the Words With Jam ‘first page’ competition, with Rats, her debut novel, now found on Amazon Kindle and Smashwords. She can be found on the Triskele Books Blog.

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‘A lyric, a tune fragment, a thrilling chord-run’ – JW Hicks

for logoMy guest this week says that most of her better ideas are sparked by music. She keeps noise-making apparatus at the ready in every room in her house. When she’s stuck she charges up her headphones with inspirational pieces and does a hand-occupying household activity until the ideas return, which usually isn’t long. Quirky and speculative fiction is her milieu, and her short stories have won prizes. Now she’s launching her debut dystopia novel, Rats, with the Triskele books collective. She is JW Hicks and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Jessica Bell

for logo‘Five characters, five musical identities’

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 contemporary fiction author, poet, editor and singer-songwriter Jessica Bell @MsBessieBell

Soundtrack by Judy Garland, Magic Dirt, Hole, Lene Lovich, I Killed the Prom Queen, Metallica

White Lady is written from the perspective of five different characters, each in first person, so, in addition to my usual character-defining tactics, I decided to give three of them specific music tastes. These music tastes also really helped to mould the personalities of these characters, and made it easier for me to write in their different voices.

black and white_Jessica BellThe musical soundtrack fan: Somewhere Over the Rainbow by Judy Garland

Sonia Shâd, an Australian/Turkish high school mathematics teacher and wife of Melbourne’s leading drug lord, is addicted to slicing people’s throats and admiring the blood cascade down her victims’ chests.

Now the clichéd thing to do would have been to make her a fan of heavy metal. I didn’t want to go the typical route. Instead, I thought it would be a little more creepy having a song associated with innocence and finding true bliss linked to Sonia finding her true bliss—the pleasure of a kill.

I’ve also used the rainbow as a metaphor for Sonia’s passion for numbers:

It is seven a.m. and everyone’s mailboxes are decorated with dew. When I was a child, I liked to think the dew meant fairies had been out to play during the night. Especially when the sun shone through dispersive prisms of condensation, creating a field of colour across my front lawn. It was the rainbow that first got me interested in mathematics and physics, and its ever-elusive pot of gold. It didn’t take long for me to rationalize that the pot of gold was simply the bait to enrich my knowledge.

As an extra quirk, Sonia’s doorbell plays this song when it’s pressed.

The female rock goddess fan: Dirty Jeans by Magic Dirt; Skinny Little Bitch by Hole; Bird Song by Lene Lovich

Mia Weston is an insecure overweight high school student, who turns to drugs to lose weight, and experiments with her sexuality to manipulate her drug dealer. She falls for Sonia’s son, Mick, and gets caught up in his family’s criminal activities. She enjoys every minute of it, because it makes her feel beautiful. She experiences a tug of war with her conscience — good girl (who is insecure about her looks, and wants to be a good daughter for her single father) versus bad girl (a beauty queen in Mick’s eyes, and bold and confident when engaging in illegal activities).

Mia is also an aspiring songwriter and turns to these female rock goddesses for inspiration.

I don’t, however, just use these songs to represent Mia’s personality. I make sure the songs appear in the story when the lyrics actually mean something to the scene.

For example, she turns Dirty Jeans up full blast when she realizes she might be falling for Mick. The first line of the song is about being attracted to an ordinary boy. Mick is far from an ordinary boy. Mia listening to this song is almost trying to convince herself that there is nothing to worry about, that Mick may be different than most, but deep down he is normal and she will be safe with him. At the same time, it also gives her a false
sense of self-esteem when she imagines the lyrics, about being beautiful, are being sung to her directly.

On the opposite end of the scale, when Mia is feeling guilty about her actions, she listens to Skinny Little Bitch, glorifying that fact that she is acting like one herself. Of course, she’s still romanticising about being skinny. It’s easier for her to be a ‘skinny bitch’ than an overweight one.

The Metal Head: Never Never Land by I Killed the Prom Queen; Creeping Death by Metallica

On the surface, Mick Shâd (Sonia’s son) is an absolute thug. He’s foul mouthed, exhibits violent and crude behaviour, and shows no respect to anyone whatsoever. Yet, deep down, he is a gentle sweetheart with a poetic soul, which readers witness through his scenes with Mia.

All his life he has been exposed to the illegal activities of his parents. The biggest thing that haunts him to this day is the blood stain on the back porch, along with the memory of Sonia tucking him in one night without having properly washed the streaks of blood off her skin.

Mick listens to hardcore music to escape his hardcore reality. It’s a way for him to shut the world out when he needs to be alone. Readers also get the hint that he prays to Allah on his seccade (a Muslim Prayer mat in Turkish), when he’s alone in his room too. He clearly has a conscience.

The songs I’ve mentioned above are not actually cited in the novel. Only the bands. This is because Mick isn’t the type of guy to describe what he’s listening to. He just turns his stereo on full blast — full stop. We also experience the loud music coming from his bedroom through Sonia’s perspective, in which she recognises the bands, but can only make out the sound of roar roar roar.

Despite readers never knowing what songs Mick listens to, these are the songs I had in mind when writing the scenes these bands are mentioned in. If you look up the lyrics to these songs, you will glean a lot of meaning from them and how they relate to the story. Though I would have loved to explain all these details in the book, they just didn’t fit. So I had to resolve myself to the fact that they would remain hidden (a true Undercover Soundtrack!”)

perf5.250x8.000.inddMusic is food

If you ever decide to use music for writing inspiration, have a think about how you can create symbolic branches to your music of choice in your story. Not only does it provide a fabulously diverse platter of character food, but it’s also nutrition for your plot. I don’t think I have ever written a book which didn’t incorporate music in one form or another. And now I don’t think I could ever write without it.

Is your story lacking the nutrients it needs? Perhaps some music will help!

Jessica Bell, a thirty-something Australian-native contemporary fiction author, poet and singer/songwriter/guitarist, is the Publishing Editor of Vine Leaves Literary Journal and the director of the Homeric Writers’ Retreat & Workshop on the Greek island of Ithaca. She makes a living as a writer/editor for English Language Teaching Publishers worldwide, such as Pearson Education, HarperCollins, MacMillan Education, Education First and Cengage Learning. Connect with Jessica online at her website, retreat & workshop, blog, the Vine Leaves Literary Journal, Facebook and Twitter

GIVEAWAY To celebrate the release of White Lady, Jessica is giving away an e-copy (mobi, ePub, or PDF) to a random commenter of this post.

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Five characters, five musical identities – Jessica Bell

for logoMy guest this week is an old hand at The Undercover Soundtrack. She made her first appearance here in 2012 with a soundtrack she had composed, sung and recorded herself – which earned my undying envy (in a good way). She’s a singer-songwriter as well as a poet and novelist, so music is a natural way for her to understand her characters. In her latest novel, she writes from the perspective of five people, and used music to help her create their different voices and mentalities. Join me here on Wednesday to meet Jessica Bell (once again) and the Undercover Soundtrack to White Lady.

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The Undercover Soundtrack – Marcus Sedgwick

for logo‘My word-hand is singing’

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 multi-award-winning author Marcus Sedgwick @marcussedgwick

Soundtrack: folk ballads of Eastern Europe,  Gustav Mahler

I’ve mentioned music quite a few times a while blogging over the years; and the gist of it all was this: I wish I’d been a musician. You often get asked what you would like to have been if you weren’t a writer, and that’s my answer. And when I say a musician, I mean of almost any kind. But since I’m not, I’m pretty happy being a writer instead, though that being the case, I use music a lot in my writing.

marcusI mean that in two ways, at least. Firstly, like many writers, I prefer not to write in total silence. I can do that if I have to, but I prefer to have music playing while I write. This music isn’t random, however; I choose it very carefully, and the general rule of thumb is that I choose music that creates the same atmosphere in my head that I am trying to create on paper. Music really can help put you in the mood, that’s obvious, and I see it as another tool the writer can use to make life easier. Sometimes, I might choose music that is directly related to what I am writing; for example, when I wrote My Swordhand is Singing, I listened exclusively to Klezmer, the gypsy folk music of Eastern Europe, such as this. It’s music that can be both incredibly joyful, and then, at other times, perhaps the most mournful thing you’ve ever heard.

Births and inspirations

I referred to an actual Romanian folk ballad in the book, and I listened to that over and over again too. It’s called The Miorita (‘The Lamb’) and was inspiring both in terms of mood, but also for the story itself: it’s the mystical tale of a lamb who warns a shepherd that his colleagues are going to murder him, and it’s both beautiful but also right on the theme of the book I was writing, about the acceptance of death.

This is the second way in which I work with music in a text I’m writing. A piece of music may have led to the birth of some element of the book. Another example would be Mahler’s Symphony No. 2, the Resurrection, which directly affected whole sections of White Crow. But this time, it wasn’t the music itself, it was something that Mahler wrote in the program notes for the premiere, which was this:

The earth quakes, the graves burst open, the dead arise and stream on
in endless procession… the trumpets of the Apocalypse ring out; in the eerie silence that follows we can just catch the distant, barely audible song of a
nightingale, last tremulous echo of earthly life! A chorus of saints and
heavenly beings softly breaks forth:
“Thou shalt arise, surely thou shalt arise.” Then appears the glory
of God! A wondrous, soft light penetrates us to the heart, all is holy
calm!
And behold, it is no judgment, there are no sinners, no just. None is
great, none is small. There is no punishment and no reward.
An overwhelming love lightens our being.   We know and are.

That kind of thing brings shivers to my spine, and when I read a passage like that, I know that very often it will end up in a book.

marcuscovIn spirals

Which brings me to my new book, The Ghosts of Heaven. This book doesn’t have music in the story directly, and when I came to write it, nothing in my music collection seemed appropriate to play as I typed. So I took a pretty drastic step, which was to write to my own music. The book is made up of four novellas, effectively, four quarters, which are interlinked by an image – the form of the spiral. One part is set in prehistory, and is written in free verse. Another part is a straight narrative of a late witch-hunt in England. There’s a section set in an insane asylum on Long Island in the 1920s, and there’s a quarter that takes place in the far future, aboard the first ship from Earth travelling to colonise a new planet.

There’s a short snippet of what I wrote as the soundtrack to this trailer for the book, and if you think listening to that for days must have put my head in a strange place, well, you can judge for yourself if you read it.

Marcus Sedgwick was born and raised in East Kent in the South East of England. He now divides his time between a small village near Cambridge and a remote house in the French Alps.  Marcus is the winner of many prizes, most notably the Printz Award, the Booktrust Teenage Prize, and the Blue Peter Book Award. His books have been shortlisted for over thirty other awards, including the Carnegie Medal (five times), the Edgar Allan Poe Award (twice) and the Guardian Children’s Fiction Prize (five times). In 2011 Revolver was awarded a Printz Honor. Marcus was Writer in Residence at Bath Spa University for three years, and has taught creative writing at Arvon and Ty Newydd. He is currently working on film and book projects with his brother, Julian, as well as a graphic novel with Thomas Taylor. He has judged numerous books awards, including the Guardian Children’s Fiction Prize and the Costa Book Awards. Find him on Twitter as @MarcusSedgwick and at his website.

 

 

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‘My sword hand is singing’ – Marcus Sedgwick

for logoThere’s a shelf chez Morris that holds a set of books with such exquisite titles as Midwinterblood, White Crow, Floodland and, of course, the one quoted in the catchline of this post. So shall I cut to the chase and state that I’m honoured that he’s my guest this week? His novels blend folktales, myth and sometimes futuristic speculation, and music is a significant companion in the writing – from the mournful and joyous gypsy and folk ballads of Eastern European to the romantic compositions of Gustav Mahler. For his latest novel, The Ghosts of Heaven, no music would fit – so he composed his own. Do join me tomorrow for the Undercover Soundtrack of multi-award-winning author Marcus Sedgwick.

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