The Undercover Soundtrack – Mark Staufer

for logo‘They sang to my subconscious’

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 Hollywood screenwriter Mark Staufer @MarkStaufer

Soundtrack by Walter Werzowa, Birds of Passage, Leonardo Rosado, Adrian Aniol, Kaikhosru Sorabji, The Caretaker, Ezio Bosso

A few years back, I wanted to break out of my screenwriting comfort zone. I decided to confront the issue that bemused me the most of all: acting.

As a screenwriter, I’ve always viewed actors with a certain amount of trepidation and — I’ll get shot for this — a smidgen of superiority. I mean, we’re the clever ones, right? We writers conjure universes and characters and astonishing dialogue from our super-awesome-God-anointed well-spring of transcendental brilliance. And we do all this in three acts — not exceeding 90 minutes for a comedy and two hours for a drama — and we always deliver on time and don’t require a Buddhist Lama or a manicurist written into our contract. Unless we’re that Joe Ezsterhas-from-the-80s guy.

B&WversionDamn actors, though, they simply wander in and rearrange their photogenic facial expressions and move their well-toned bodies like puppets, parroting the words we maestro-minds have spent months bleeding over and creating. And rewriting. Again. And…

Bang!

Wait. Just, before I die, let me finish…

So, I confronted my fear and wrote a script with one of those bloody annoying actors. You may know Josh Stewart from Third Watch or Dirt or The Dark Knight Rises — to me, he was a friend first, and a scary, Brando-esque methody-actor second. As we worked on the script together — he as committed as I was — it became (painfully) apparent that I was learning a whole new dimension in screenwriting. Sure, I was fucking superb at writing and scenes and structure and ‘creating universes’ and theoretical whatnot, but Josh, as an actor, slipped into characters and dialogue like an eel. He was like a specialist fine-tuning these parts of the body, while I resembled something akin to your garden variety local GP.

Josh taught me so much about the most important parts of screenwriting — characters; motivation; showing, not telling; use of the semicolon; minimal big-print — that I feel totally embarrassed about the whole ‘rearranging expressions’ statement a while back. Oh, if you want to read our magnificent script about an archeologist-turned-grave-robber… Give me a yell.

Music

And a similar thing has happened with music and writing with The Numinous Place. Not that I’ve ever been quite so damning about music and composers — but I’ve learned so much from actually listening, and listening hard to music, and musicians, that it’s completely transformed my approach to writing as well.

You see, in the middle of the night, about a decade ago I awoke from a most wondrous and startling dream and immediately thought to myself, how cool would it be if we developed the technology to film dreams. That was the spark that hovered and wormed its way into my consciousness until I finally dragged myself into the dark room and began work five years later on (gulp) my life’s work. By that stage I’d been researching like crazy, the characters and plot were pretty much fully formed, my entire belief system had been turned upside-down, and I knew I needed to tell this particular story in an utterly  different way.

For maximum impact, I needed to create an authentic storyworld about the scientific discovery of the afterlife using all storytelling techniques: first-person narrative, audio, video, web and magazine articles, comic, photographs, diagrams… Nothing less would suffice than every narrative device we’ve used since cave-painting began 40,000 years ago.

Why?

Reading is visceral

There was no gimmickry involved in this decision to create in a multidimensional fashion. It’s just that I believe a reader’s response to realistic artifacts and information is more visceral — it’s a case of showing not telling (remember what Josh taught me?). As the narrative unfolded I didn’t want anyone to have to suspend their disbelief for a moment. Everyone really needed to believe that science had indeed discovered the afterlife. And for that to happen, it was going to be necessary to present them with all the relevant evidence — totally believable evidence I’d gathered from since the beginning of time. Here’s the newspaper article, take a look at the news report, here’s the page in Wikipedia… Seeing is believing.

I also wanted to include a soundtrack with the book. With the technique of lucid dreaming — becoming conscious in your dreamworld and controlling it — at the core of the narrative it was important to be able to conjure an immediate response with readers. And music is by far the best way to do this.

It was necessary for my writing, too. Music was what helped me tap into my subconscious and those other realities in which my narrative and characters already existed. Music was the bridge to the worlds of archetypes and parallel universes where every story lives and waits to be told in the here and now by someone like you.

Musical genius

There’s a fantastic music site called A Closer Listen which supplied me with many leads and from there I discovered a bunch of musical geniuses whose ethereal compositions sang to my subconscious and allowed me to bring the dreamworld into this reality. The darkly claustrophobic ambience of Adrian Aniol,  the hauntingly cinematic music of Leonardo Rosado, the angelic pyrotechnics of Sorabji, the fiery minimalism of Italian composer Ezio Bosso and the wafty electronic otherworldiness of The Caretaker.

But what would an actual soundTNPlogojpegtrack to a book such as The Numinous Place sound like, and how would it work? Books aren’t movies or games — the reading experience is intimate and self-paced, and I don’t believe any reader wants music or sound effects blasting away behind every word. How could I make music an evocative part of the experience, integrate it into the storyworld and allow it to accentuate the narrative?

Under the guidance of composer/sound designer Walter Werzowa it was decided the music — like the tech and design by Dean Johnson and the team at digital agency Brandwidth — would be used strategically. Pieces would be composed by Maestro Werzowa to specifically enhance the narrative, underscore the emotional intensity and act as scene-breakers.

And, since reading is more about choices than, say, watching a film — the reader can choose to listen immediately, or save the piece and listen later.

Dreamworlds move at their own pace

Because the dreamworld itself moves at a different pace from this reality and is often so difficult to recall, Walter set to work reimagining well-known classical pieces that evoke the moods experienced in the dreamworld by the book’s hero, Henry Meat. You can hear an example here, along with Walter’s magnificent Agnus.

And, just like James Bond films, The Numinous Place needed a theme song. For this I approached fellow-Kiwi Alicia Merz who records under the name Birds of Passage. Alicia’s compellingly hypnotic theme for The Numinous Place captures the atmosphere of the storyworld perfectly — it evokes the dreamworld in a way words often struggle to achieve.

Music being such an integral part of both the creative process and finished product has also assisted me in an unanticipated way. The structural multidimensionality of The Numinous Place means there are a lot of balls in the air during writing. Similar to music — cadence and rhythm and texture are incredibly important — and I’ve learned from all those composers on my soundtrack during this journey.

I’ve learned that, just like acting, it’s the silences between the notes that are equally as important as the notes themselves.

And it is the same with words.

Hollywood screenwriter Mark Staufer is the curator/creator of an ambitious new way of storytelling, a supernatural thriller called The Numinous Place which will be available later this year. Staufer is a former head of production at Universal Studios Networks in London and has been working on his “destiny project” for more than a decade. You can follow him on twitter @MarkStaufer and @NuminousPlace and the lead character in the book @HenryMeat.

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  1. #1 by philipparees on June 5, 2013 - 8:57 am

    Well! Where to begin? A video dream recorder was what I once asked for my birthday, and it seems to be getting closer. So many things I want to ask, and apply. The idea of using all the senses to convey what transcends the senses is what I have attempted and probably failed but how I would love to try again. At the simplest I want to thank you both for the introduction to A Closer Listen, since I have been searching for something like it for an audio book, but may not be able to afford. This whole account makes me feel I ought to wait until I can. How marvellous to conceive and then be able to execute. The theme was stunning, so multidimensional, and so evocative of almost everything from plain song onwards…this undefined penetration of a veil is happening so fast now.On a daily basis it seems and everything leaning towards it. Hr you make it explicit.

    • #2 by rozmorris @NailYourNovel @ByRozMorris on June 5, 2013 - 9:39 am

      Hi Philippa! The video dream recorder is a must-have invention, isn’t it? I love the pieces Mark has introduced me to here and the ideas he’s braiding into them. That Sorabji is really haunting me at the moment and I woke this morning trying to put ideas to Adrian Aniol. But his idea is stunning and has been waiting for technology to catch up. Even if we can’t do the brain-electronica interface, we can now, more than ever, help do it in our imagination.

  2. #3 by Darrelyn Saloom on June 5, 2013 - 7:07 pm

    Well, you’re right, Mark. You are brilliant.

    Enjoyed every word. Now I’m off to click every link in your post.

    Thank you, Roz.

    • #4 by rozmorris @NailYourNovel @ByRozMorris on June 6, 2013 - 7:44 am

      My pleasure, Darrelyn. Mark has shared some real gems here – as well as a stunning idea. And like all great ideas, it’s as if it was waiting to be had.

  3. #5 by Joseph on June 6, 2013 - 5:57 am

    Thanks for mentioning us, Mark. I’d be happy to point others towards more great music too, including the Lost Children net label catalog I co-run. Our weekly mix series is a good introduction to a lot of excellent artists. Cheers

    • #6 by rozmorris @NailYourNovel @ByRozMorris on June 6, 2013 - 7:48 am

      Joseph – thanks for dropping by and leaving your calling card. I run posts every week for writers who are inspired by music, and they’re bound to find A Closer Listen is an awesome resource. I’m so glad Mark introduced us to you.

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