Posts Tagged Women Writers
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 writing workshop facilitator and novelist Kathryn Craft @KCraftWriter
Soundtrack by A Great Big World, Christina Aguilera, LeeAnn Womack, Pentatonix, The Civil Wars
When Roz first asked me to write a post for The Undercover Soundtrack, I didn’t think I had one in me. I can only escape into story, it seems, while writing in silence. It soon dawned on me, though, that music had played a rather mystical role in the development of my newly released second novel.
The Far End of Happy is the story of three women who must make tough choices and face shameful secrets while awaiting the outcome of a loved one’s daylong suicide standoff. Sadly, the novel is based on true events. Frustrated by my husband’s insistence that I stay in a marriage he was unwilling to contribute anything toward saving, I felt I had no choice but to break my marriage vow to save our young sons. In 1997 I determined to divorce; he pre-empted that action with a more desperate move.
I waited a good long time to gain the perspective I needed to tell the story, and got the book deal in the fall of 2013 after turning in the manuscript for my debut novel, The Art of Falling.
Music first entered the story in 2014—or so I thought—when I was driving a few hours to Harrisburg, PA to do a TV taping to talk about my debut. Surfing the radio to find something new, I came upon the kind of expectant airspace that can only mean a song is about to begin.
The odds against tuning in at that exact moment are great enough to make you think that the Universe is about to speak.
It brought to mind another time that had happened—the day I woke up for my husband’s funeral.
I woke up at 5:30 am habitually on our small Pennsylvania farm, but due to the deviling notion that I may have been able to prevent my husband’s horrific act, sleep had eluded me. It was a morning service, so to be safe, I set the radio alarm. My eyes opened as I heard a soft pop from the clock. A simple opening of the airwaves. A connection to something greater. Again, that expectant silence.
I listened to the new-to-me song—Leeann Womack’s You’ve Got to Talk to Me. The futility it evoked rang through loud and clear, as if in absolution: you can chase someone with your hand extended all you want, but if he never turns back to take it, there’s nothing you can do.
Little did I know that in 2014, after the expectant silence on my drive to Harrisburg, I was about to hear that message reiterated.
Cue music, take two
The song was so quiet, at first: plaintive piano, small breathy voice, strings that added a wealth of emotion. Its difference from most of the songs you hear on popular radio grabbed me right away. Sad yet determined harmonies that built to the point they demanded to be heard.
Later that day, on the station’s website, I looked up the title: Say Something by A Great Big World and Christina Aguilera. The similarity to You’ve Got to Talk to Me struck. Only this time, the point of view was not of one who is chasing or begging: it was of one who is walking away. By bookending the painful arc of my decision to end the marriage, these two songs anchored me to the inner conflict from which I needed to write. A conflict without end, thanks to my husband’s unforgettable act, so perfectly evoked by the haunting refrain of yet another tune I discovered at that time, Poison & Wine by the Civil Wars.
A few months later, in the final throes of the novel’s development, I stumbled upon a Pentatonix cover of Say Something that I loved even more. This time the sombre mood took on an anxious edge through the plucking of a cello.
In the video, the singers stand together yet facing forward. Parallel grief. When the others add on to Kirstin’s initial solo statement, they seem to say that vocalising pain is so crucial to our human connectedness that even the sound of ‘oo’ releases sadness that cannot be kept at bay. Switching to the mournful resonance of bowed cello, Kevin vocalises the pulse of the breaking human heart. Avi’s lament on the vowel ‘oh’ at 2:25 is enough to break me to pieces. One imagines that each of them sings from their own pain, but together, they make something beautiful.
Because our emotions are beautiful, and important, and should be shared. They are the heartbeat of story and music and life. They are our bridge to shared experience, and my husband’s final, silent downturn shows that emotions left unexpressed will rot us from within. We see this message inherent in the end of the Pentatonix performance: the one person who has vocalised but not yet sung, Kevin, is offered the final plea.
In the Pentatonix arrangement the song ends without resolution. The same is true with my novel, because one of the great legacies of suicide is the plethora of unanswered questions. To be true to my experience, this 12-hour story could not be tied up neatly and put away. Healing for my family would extend on as we shared our sadness and fear. But the unresolved song, like my story, ends on a rising note, because we also shared our hope.
For those of us who choose life this day: may the expression of your innermost self go on and on—whether through the arts or the glorious intimacy of the human voice—in all its pain and beauty.
Kathryn Craft is the author of two novels from Sourcebooks, The Art of Falling and The Far End of Happy. Her work as a freelance developmental editor at Writing-Partner.com follows a nineteen-year career as a dance critic. Long a leader in the southeastern Pennsylvania writing scene, she leads writing workshops and retreats, and is a member of the Tall Poppy Writers. Her Twitter campaign, #choosethisday, is designed to empower others with the notion that each day we get up and go about our business we are choosing life. What will you do with yours? www.kathryncraft.com. Find Kathryn on Facebook and on Twitter @KCraftWriter
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 Chrissie Parker @Chrissie_author
Soundtrack by Elena Paprizou, Glykeria, Beth Nielsen Chapman, Charlie Worsham, Massive Attack, Portishead, Jem, The Moxy
I love music, my ipod goes everywhere with me, and I always listen to music when I write. Everything I write ends up with its own playlist, and certain songs on that playlist define the work, and its characters. Among the Olive Groves was no different. Whilst writing it my brain filled with so many songs that I love. They saw me frantically pouring my heart out onto the page, breathing life into it, and for me they have become an integral part of the book that will always remain.
A magical island
Among the Olive Groves centre’s around two women, Elena and Kate, who live in two different periods of time. They are both affected by similar issues; strained relationships, uncertainty in their lives, and outside factors that control and dictate their lives. Even though parts of the book are set in Bristol and Cornwall, the majority is set on the Greek Island of Zakynthos. Αστέρια (Stars), by Elena Paprizou, is a modern Greek song that reminds me of everything I love about Zakynthos; the high cliffs, sweeping beaches, crystal turquoise seas, green mountains and the history of the island. The song binds them together perfectly.
I fell in love with the island when I first visited, it’s a magical place, and it’s the reason I chose to set the book there.
Greek friendship that turns to loneliness
Greek music played a huge part in this book, especially when writing about Elena my Greek war heroine. I listened to many traditional Greek albums writing this book, but one track stood out. Tik Tik Tik by Glykeria is a great up-tempo Greek song, it’s very like Elena’s character happy, feisty and a little mischievous. The Festival in Macherado is full of dancing and Greek tradition, and in that scene Elena longs to dance with Angelos, the man she has become good friends with, but knows that she can’t. Instead they sneak off to the outskirts of town and talk while the sounds of the festival waft around them.
Eventually Elena and Angelos fall in love, but they’re from different backgrounds and know that they will never truly be together. When Angelos’s father forces him into a relationship with another woman. It’s in this moment that Elena realises she is alone and always will be. Sand and Water by Beth Nielsen Chapman, is a hauntingly beautiful song that epitomises Elena’s unending feelings of loss and loneliness. Listening to the song, I see Elena wandering through the olive groves, sitting on the beach or standing on a cliff top staring out at the sea mourning the loss of her one and only true love.
Relationships to last for decades
Love Don’t Die Easy by Charlie Worsham is a song that belongs to Kate and Fletch and their relationship that spans over a decade. Despite spending much of that time apart their relationship remains the same. Hardship and struggles may have defined the people they have become but their love didn’t die and is stronger than ever.
There were times though when I just couldn’t get into Kate or Fletch’s head at all, and wanted to feel closer to them. I thought that maybe listening to music from the area where they lived would help and it did. Protection by Massive Attack, Glory Box by Portishead, and Missing You by Jem, really stood out and became favourites. They reminded me of all the things I love about Bristol, and the West Country. They define the young, life and surf-loving characters.
When the Germans finally capture Elena, Angelos is heartbroken. He feels guilty and wishes that he could have done more to protect her. As he hides in the grass at Keri watching the Germans taunt her, he is completely torn. He desperately wants to save her from their enemy, but knows that if he does he will get arrested or die trying. Save You by The Moxy, was a song that really struck home while writing this scene, so much so that it’s an emotional listen. The equal guilt and fear from the two characters are so present in the music and the lyrics, it’s as if the song is saying exactly what Angelos longs to say to Elena.
Chrissie Parker lives in London with her husband and is a production co-ordinator in the TV, documentary and film industry. Her thriller Integrate was released in October 2013 and her historical novel Among the Olive Groves was released in July 2014. Other written work includes factual articles for the Bristolian newspaper and guest articles for the charities Epilepsy Awareness Squad and Epilepsy Literary Heritage Foundation. Chrissie has also written a book of short stories and poems, one of which was performed at the 100 poems by 100 women event at the Bath International Literary Festival in 2013. Her website is here, her Facebook page is here, her Facebook group is here, her blog is here and she’s on Twitter as @Chrissie_author.
My guest this week has a historical novel with two timelines, each of them full of loss and turmoil. Music by Portishead, Jem and The Moxy defined the characters and their dilemmas, hurling her into their lives and channeling their emotions as she wrote. Modern Greek music by Elena Paprizou and Glykeria inspired the setting – the island of Zakynthos. She also writes short stories and poems and performed at the 100 poems by 100 women event at the Bath International Literary Festival 2013. She is Chrissie Parker and she’ll be here on Wednesday with her Undercover Soundtrack.
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 Nadine Matheson @nadinematheson
Soundtrack by Nina Simone, Jimi Hendrix, Tom Odell
Personally, I’m not committed to one genre of music. I will listen to anything and writing the story of The Sisters was also an opportunity to look back at my history with music. There is a scene where Lucinda is shopping in Portobello Market with her manager and she picks up a Jim Reeves album. Now, Jim Reeves was a 50s/60s country singer and my dad would play him on a Sunday morning and then move on to soul or reggae while my mum would be playing David Bowie or reminding me about the giant Marc Bolan poster that she had on her bedroom door when she was teenager. That’s how eclectic my own musical journey was and it was an important part of my own journey when writing this book.
In my head, I think that everyone walks around with their own theme tune. I like to think that Jimi Hendrix’s Crosstown Traffic or All Along the Watchtower is being blasted out of speakers every time I enter a room or walk down the street. The same warped principle applies when I begin to write. The idea of writing in complete silence fills me with dread and when I’m planning my book’s I always play All Along the Watchtower. The start of the song is about formulating a plan and that there has to be an escape. That’s how I feel about the process of writing a book. There has to be a way out of this story I’ve created. There has to be an end.
The underlying theme of The Sisters is transitions and the effects of misunderstanding. Just like a good book, music is both transitional and emotive. The first character that I could see as a fully rounded person was Lucinda and the only singer that I could hear in my head was Nina Simone and one of my favourite songs Don’t let me be misunderstood. As I began to write Lucinda, I had an immense dislike for her and I initially thought that she was one dimensional but I kept playing Nina Simone’s Don’t let me be misunderstood.
I kept replaying that song because not only did it become the character’s mantra but it also reminded me that this was a character with many facets and not the resident one-dimensional baddie of the book. There is a scene in The Sisters when Lucinda says that she wants her music to be stripped back – that is Nina Simone’s reminder to me that for Lucinda to make her transition, I had to show her vulnerabilities. A favourite quote of mine from Nina Simone is ‘Sometimes I sound like gravel and sometimes I sound like coffee and cream.’
Because I was writing about sisters who were in an R’n’B band in the 90s, I made a conscious effort not to listen to any music from that time period, that the sisters would have been playing/singing. I think that would have pigeonholed the characters and not allow them to grow.
There are lot of misunderstandings in The Sisters and the classic syndrome of people covering up how they really feel. When I was writing a scene that involved the sisters finally acknowledging what was going on both internally and with their own relationships I would play Tom Odell’s Can’t Pretend. It is haunting but when you listen to the lyrics it’s not the end of the world, as if all hope is gone. There needed to be a strong sense of authenticity in The Sisters and while writing the book, I chose music where there was a clear complexity in the lyrics. I wanted to show that life isn’t a glossy manufactured package and that there is always more to us than what you first see when we walk into a room.
Nadine Matheson’s The Sisters was published last month. She has also contributed to the sci-fi anthology No Way Home. When she’s not writing, Nadine works as a criminal lawyer. Her crime novel Key Positions was shortlisted for the City Uni/David Higham Associates Crime Writing Competition 2014. She is planning another sci-fi short story as well as working on completing her crime novel. Find her on her website, Facebook and Twitter @NadineMatheson.
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?
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: Impossible – Ghost 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.
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.’
Until 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
My 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.