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Posts Tagged Adele
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 medieval literature scholar and metaphysical fantasy writer Alice Degan @ajdegan
Soundtrack by Ralph Vaughan Williams, Maddy Prior, Adele, Sarah Slean, Loreena McKennitt, Squirrel Nut Zippers
Before iTunes, making a mix of music to write to used to be this whole ritual. For me it was one of those great para-writing procrastination activities, like buying notebooks or clearing off your desk. I’d want to carefully select a track to go at the beginning of the CD, which served as a kind of invocation to set the mood as I sat down to write. Often this one would be a song that wasn’t musically appropriate to the setting, but had some apposite lyrics, or related thematically somehow. With From All False Doctrine, which I began after I had started migrating my music library onto my computer, things were a bit different. It was easier to create a soundtrack, which deprived the ritual of some of its distracting power, and it wasn’t necessary to select just one track to open with. Several different songs ended up playing that role of invocation.
Adding to the choir
Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis was the track that most often functioned as an entry point. It’s an exquisite piece that embroiders on the melody of one of my favourite hymns. It builds slowly and quietly, but reaches a dramatic climax. Listening to Vaughan Williams’s version calls to mind not so much the exact words of the hymn but its general theme and mood: a feeling of inadequacy in the face of greater powers, and a plea to God for the strength to add my own voice to a great choir. That spoke to me as I approached my writing, and it evoked the concerns of my main characters in their different pursuits.
If it’s the life you feel called to, it’s what you should live. If you’ll pardon the expression.’
‘ “Called. “’ He grinned up at her apologetically. “It implies there’s Someone to do the calling.’
‘It’s just a turn of phrase,’ she said sternly.
From All False Doctrine is set in the 1920s, but jazz music isn’t a major feature of the plot, and didn’t help in its creation either. Of course that’s partly due to my own musical tastes. But it’s also partly because the book is set in Toronto, which was still a fairly conservative city in the ’20s, not a hotbed of the kind of social and artistic innovation that we associate with the decade. A jazz soundtrack wouldn’t quite capture the mood of 1925 Toronto as I understand it. My story centres on the worlds of the university and the Anglican Church. My hero, Kit Underhill, is a young Anglo-Catholic priest in the working-class neighbourhood of Earlscourt, an area populated at the time mostly by English immigrants. Elsa Nordqvist, my heroine, is a classics student who has lost her faith in God but believes passionately in her academic calling.
The words to a number of hymns feature in the story, but I didn’t listen to most of these while writing: they’re songs I know from years in the pews, not from recordings. Jesu, lover of my soul, in Maddy Prior’s atypical rendition, was one I did play while writing, though it doesn’t get a mention in the story. Privately, though, I know that my characters like it: I think of it as expressing something of Kit’s spirituality while at the same time evoking Elsa’s Protestant upbringing.
Then there are songs that evoke just the right mood even though the style and lyrics may have no obvious connection to the story. One of those for this book was Adele’s Set Fire to the Rain, which spoke perfectly of the unhappiness of a secondary character, Harriet Spencer, a charismatic young woman who is abandoned by her fiancé. (Come to think of it, she looks a little bit like Adele, especially in that video!) Sarah Slean’s Society Song evokes something of Elsa’s relationship to propriety: it’s a defiant, upbeat song that made a nice contrast to the more contemplative tracks on my list.
Star of the County Down is the shiftless fiancé’s theme. A classic folk song about a determined suitor, it’s also very close in its tune to another hymn, I heard the voice of Jesus say, so it evokes two aspects of this character for me. I have several recordings, but the one I had on the False Doctrine soundtrack was Loreena McKennitt’s rendition from The Wind That Shakes the Barley.
Finally, because of the turn that the story takes towards the end, the Squirrel Nut Zippers’ Hell made it onto the soundtrack.
He reached for her hands and then stopped. ‘At midnight my soul—whatever that may be—is forfeit to that thing and its Master. Do you think I would hesitate to throw you to him, to save myself?’
‘Yes,’ she said. ‘You are hesitating right now.’
I’m working on a sequel now, and the song I use to get in the mood (this is a slight spoiler) is Sarah Slean’s Angel.
Alice Degan is an academic and novelist who lives in Toronto. She studies and teaches medieval literature, and writes fantasy and something she likes to call metaphysical romance. From All False Doctrine, a supernatural mystery wrapped in a 1920s comedy of manners, is her first published novel. She also has a series of urban fantasy stories involving a collection of misfit otherworldly characters who live above a bakery. You can find her on Twitter as @ajdegan, or on her website.
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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 my guest is romance mystery novelist Anne Allen @AnneAllen21
Thanks, Roz, for allowing me to air my thoughts on the music that influences me while I write. Your series has shown how varied the music is that writers listen to in their search for creativity. My own selection is quite limited in comparison but it did inspire me while writing my first novel.
I do love music but there are also times when it seems to get in the way; I find myself so drawn into the music, particularly vocal, that I literally lose the plot! Music helps to create the mood, spark the creativity but then must either be less noticeable or pertinent to what I’m writing at that time. My normal listening taste is quite eclectic; Michael Jackson, Adele, Nina Simone, Pavarotti, 1812 Overture, Chris Rea… And I love the more meditative New Age music which always formed a backdrop to my sessions when I practised as a hypnotherapist.
While writing my first novel Dangerous Waters I started off by playing New World Collection Relaxation II, a compilation of different artists playing hauntingly beautiful music which fed my soul while I stepped into the unknown as a writer. The first track, Wisdom by Philip Chapman, is played on a piano but with strings in the background and always calms me. My central character, Jeanne Le Page, is a young woman returning to her island home of Guernsey for the first time in 15 years, after fleeing to England as a girl of 16. She had lost her family in a tragic accident and now returns after the death of her grandmother, while also mourning the end of a long-term relationship. Tragedy and loss are the cornerstones to the story but as time goes on, hope of a fresh start and new love appear and the mood changes. My favourite track on this album, Soldier of Love by Denis Quinn, is in harmony with this change and provided the ideal background for the latter part of the writing process.
Jeanne experiences so many conflicting emotions through the story and music helped me to identify with them. I cried at times too, the words and music encouraging me to release my own grief as I wrote. I had lost two people I had loved and writing Dangerous Waters proved a catharsis. Another favourite of mine is the Pachelbel Canon which I found inspirational as I grappled with difficult chapters. Bearing in mind that this was the first time I’d written anything more substantial than a 500-word true-life story, I was in a constant state of insecurity; totally untutored. Entering the heads of other characters was also challenging, but I could empathise with some more than others. Molly, a character in the book, was based on a family friend. She was also a hypnotherapist who played a part in helping Jeanne to recover the memory lost after the accident and I played tracks such as Dream by Medwyn Goodall and Wings of the Morning by Terry Oldfield during the hypnosis sessions in the story to evoke the right ambience. At least there I was on known territory!
As Jeanne began to blossom and a new man- actually men! – appeared on the scene, I felt the need for different inspiration and listened to a Rod Stewart album. I know, I know! A bit off piste, perhaps, but it was fun and sexy and that’s what I, or rather Jeanne, needed. The album was If We Fall In Love Tonight. The title says it all, but there were particular tracks that, ahem, helped with certain scenes, such as Tonight’s the Night and Sometimes When We Touch. Rod’s gravelly voice provided, I have to say, both a distracting but complementary background to the writing.
We all respond to music in one way or another. Memories, both good and bad, are triggered by hearing even just a few bars of a tune that resonated with us at one time. Perhaps we take it for granted that it’s there, in the background of our lives, not always listening. But I’m convinced we would miss it if it was no longer there in our world and we have the composers, lyricists and artists to thank for offering us such a rich choice for our inspiration and comfort. Like books, music enriches our lives and I wouldn’t be without it.
Anne Allen lives by the sea in Devon, UK, having finally settled down; perhaps. She spent many years working as a psychotherapist but knew the ‘creative’ in her had to escape one day. In the past two years she has published two novels, Dangerous Waters and Finding Mother; her third book, Guernsey Retreat, is due out later in 2014. Her genre is romance/mystery and romance/family drama and Dangerous Waters won Silver in the Wishing Shelf Book Awards 2012. Her website is www.anneallen.co.uk and she can be found on Twitter as @AnneAllen21.
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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 debut author Barry Walsh @BJWalsh
Soundtrack by Neil Young, Handel, Beniamino Gigli, Bob Dylan, the Beatles, the Marvellettes, Rod Stewart, Adele, Flanagan & Allen, Mozart, JS Bach, Hildegard von Bingen, Beethoven, Dexy’s Midnight Runners
The Pimlico Kid is about first-love, which can quarry a hollow in one’s life that is hard to fill. It’s also about kids scrabbling past puberty and slamming into emotional or physical barriers set by adults.
… the most we might have expected to deal with was a first kiss or a dying grandparent, we were undone by love itself, and violence – and that adults betrayed us.
The lyrics of Neil Young’s songs were ever-present in my head while writing the book. For years I had piled up notes from which to make The Pimlico Kid a novel but it was the beautiful reference to childhood friendship and secrets being revealed in Philadelphia that turned intention into action.
The narrator, Billy, unlike some of his friends stands on the solid ground of happy family life. His easy-going father is a hard man and his volatile brother, John, will become one. However, Billy’s father is comfortable revealing his softer side and expresses it in his fine singing. And, when his sons were small, he kidded them he knew Italian and sang his favourite Beniamino Gigli songs, such as Handel’s Ombra mai fu, in beautiful gibberish.
This contrasts with Bob Dylan’s less mellifluous The times they are a changin’ (played loudly enough to shake the house) that defines the rebellious younger brother John, who is yet to discover his softer side:
When he’s asked or told to do something, he has this stiff, chinny look that makes it clear he doesn’t have to comply, but that he will, only on this occasion.
The exhilaration of first attraction is almost always about a face. And it is nailed by the Beatles’s I’ve Just Seen a Face. When Billy falls for Sarah, he worries that his more mature friends will disapprove because she is still flat chested. However, he’s prepared to wait for breasts:
I know that whatever Rooksy says about fabulous flesh, love starts with a face.
A host of songs evoke the summer of 1963 but none more vividly than the Beatles’s She Loves You. Billy and his friends stand transfixed outside a pub from which it is blasting out, again and again. This is the song that vanquishes the old pop music order – along with Brylcreem. When an Elvis song starts up, they leave.
During one of those never-ending summer days of childhood, the loves of four friends – Billy, his best mate, Rooksy, Sarah and Josie collide and magic is conjured up by declarations of love and secrets revealed. The Marvelettes’ When You’re Young and in Love kept popping into my head as I tried to pin down the excitement of new love. The lyrics may be simple but if you are young and in love, they couldn’t be more true.
At a critical moment Billy’s behaves like an idiot in front of Sarah. Burning with shame, he’s surprised to find that it doesn’t affect how she feels for him. This reflects my experience of how often weak and flawed people, usually men, are lucky enough to find someone who loves them anyway. Neil Young ‘gets’ it in Hangin’ on a Limb, in which a man wobbles at the edge of an emotional precipice and a girl teaches him how to dance.
As their relationship grows, the four friends come to learn that love breeds compassion and diminishes judgement of those it’s easy to ridicule, whether it’s because of a birthmark or sexual orientation. In the early sixties there were few openly gay teenagers and a great deal of unthinking homophobia. A decade later, Rod Stewart’s The killing of Georgie helped to change things a little and it came to mind constantly while I struggled to get this issue onto the page.
Adele’s Someone Like You wasn’t a creative influence but, on a more exalted level, it provided creative confirmation of the universal theme that I was trying to make personal. During my fourth re-write, the song was playing every day and everywhere and its reference to glory days of summer goes to the heart of The Pimlico Kid, in which …
love can endure but … promises are hard to keep.
Finally, the streets of London are the main stage for The Pimlico Kid. Maybe it’s Because I’m a Londoner anchors Billy – and me – to the greatest of cities.
I write to classical music, which provides welcome harmony to counter the dissonance in my head. I start most days with Mozart’s String Quintet No 1 because it lifts my default mood of pessimism about finding the right words. Each day features Bach, lots of Gregorian chant and the liturgical songs of Hildegard von Bingen. I regularly work my way through Beethoven’s quartets but stop when I reach No 15, which triggers Wordsworthian ‘thoughts that lie too deep for tears’.
When the writing has gone really well, I celebrate with the Kyrie from Beethoven’s Missa Solemnis, which isn’t at all ‘solemn’. And, when there’s no one else in the house, I turn to Dexy’s Midnight Runners’ Come on Eileen and jig around like mad Ben Gunn on the beach.
Barry Walsh grew up in the heart of London during the 60s and thought belatedly that there might be a story in it. The result is The Pimlico Kid, published by Harper, a story of first love. He is now writing his second novel. When not at the keyboard, Barry enjoys cycling (he once rode non-stop to the top of Mont Ventoux), holidays in France, watching Arsenal, listening to Neil Young and gazing at Audrey Hepburn’s face. He is a proud trustee of the world’s oldest youth club – St Andrew’s, Westminster – and believes that London might just be the centre of the universe. He is married with two daughters. Find him on his website and Twitter @bjwalsh
GIVEAWAY Barry is offering a signed print copy of The Pimlico Kid. For a chance to win, leave a comment here or share this post on Twitter, Facebook, G+ or anywhere else (and don’t forget to leave a note here saying where you shared it).
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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 multi-genre novelist and indie publisher Devon Flaherty @devtflaherty
Soundtrack by Barenaked Ladies, Alanis Morissette, Gungor, Passion, Tom Waits, She & Him, The Sing Team, Adele, Waterdeep, Glen Hansard, Carolina Chocolate Drops, Brothers and Sisters, The City Harmonic, Trouvere, Lowland Hum, Over The Rhine, Putumayo, Belinda Carlisle
I have to admit, ever since I started staying at home with babies/small children, my interaction with music has been different. Not only do I have to put up with terrible kid music (with the exception of BNL’s Snacktime) and avoid music I formerly loved with questionable lyrics or themes, but I also have the occupational challenge of keeping my ears open, all the time, listening for a breach of boundary, a breaking glass, a sibling fight. Most of the writing of my recently published book, Benevolent, has taken place in this music vacuum—stealing moments of Alanis Morisette’s Jagged Little Pill while driving alone to a friend’s home.
But this has been a really big month for me. On section two of my next novel, The Family Elephant’s Jewels, my husband has graduated nursing school, my son has been registered for kindergarten, and mommy has been given — by the appreciative husband — an iPod Nano! Fifteen years ago I wouldn’t have been caught dead without my Discman, but an iPod seemed a little extraneous with my loveable cling-ons. And now? It’s truly wonderful.
Last night, while listening to Gungor’s Dry Bones and folding clothes (and doing air pumps and some orchestra conducting), I saw the vision for my much-needed book trailer. The music just flowed through me. And I don’t know about you, but when I get really carried away with a song, visions break out like fireworks on my inner retina, making music videos of my creativity, my thought-life. Which is why, for me, music is such an integral part of the writing process.
I have been known to say, in recent interviews, that my ideas often come from moments in life when something small and extraordinary jumps out at me. I can’t begin to count, even during my music-starved twenties, the times that that small and extraordinary moment was fueled by music. My future fantasy trilogy Spin was almost completely born out of the song White Flag by Passion (which is kid-friendly). I have a whole story built around Tom Waits’s A Little Drop of Poison (which happens to be on the Shrek soundtrack).
Oh for Bose
So now that I am planning long hours lost behind noise-cancelling headphones — and the eventual transfer to a Bose stereo that I can blast when I am the only one home ‘working’ — I plan on creating the townscapes of The Family Elephant’s Jewels with the juice-flowing inspiration of all my latest (and greatest) favorite bands: She & Him, Sing Team, Adele, Waterdeep, Glen Hansard, Carolina Chocolate Drops, Brothers and Sisters, The City Harmonic, Trouvere, Lowland Hum, and many others, many as yet undiscovered by me.
The truth is, that even without music playing all the time (which it had for the first twenty-five years of my life), music was still inspiring me as I wrote Benevolent. It’s evident when I reach out and bring in a very specific piece of music, even in the prose. Gaby is listening to Over the Rhine’s Good Dog, Bad Dog as she rumbles bus-bound through Jerusalem, thinking about her romantic attachments. Putumayo’s Gypsy Groove lilts on the air during a disastrous scene near the end of the book (no spoilers!), but I had to change the title (Mali to Memphis) due to time differences. Heck, Belinda Carlisle’s Heaven is a Place on Earth was the song that got me in the whole 80s and 90s mood to begin with. And let’s not forget the one I made up (because that’s how story and legend often convey):
And The Queen and her lover
ran for cover
Holding each other tight.
While the tall story man
and his evil war band
Chased down the beautiful knight.
Where have all the heroes gone?
I want a stately red-headed queen
to make love to angels
and wield a sure sword
And Jaden to save the day,
Oh-oh Jaden to save the day.
I like to bring my readers all the way into a story, and that means engaging all the senses, if possible. They are seeing a dingy 1980s dining room, eating chicken, smelling old carpet, feeling a chink in porcelain under their fingertip and the roughness of a tuxedo jacket against their arm, listening to—what? Besides Nadine yammering on? Besides the humming of the fridge and the clink of silverware? In Gaby’s opening scene, I have music everywhere: being rudely interrupted, then bursting out again, ‘in the foreground and background and off the walls,’ Stellar crooning obnoxiously to Bette Midler.
And I like to be immersed, myself, into life. I like to see, feel, smell, taste, and hear when I walk through the woods, when I take my husband on a date, when I read a book, and definitely, most definitely, when I write it.
Devon Flaherty is a writer in Durham, North Carolina. Originally from metropolitan Detroit, she is a mother, a wife, a hobby yogi, photographer, painter, and foodie. She has been writing seriously since her very earliest brushes with literature, and has published articles, poems, and photography in literary journals and magazines. She received a bachelors in philosophy and was an assistant editor, freelancer, and blogger, until she founded a publishing company, Owl and Zebra Press, and launched her novelist career with Benevolent. Follow her on Twitter @devtflaherty, at her blog The Starving Artist, or by signing up for her E-Newsletter. You can buy Benevolent here (or plenty of other places).
GIVEAWAY Devon is giving away a signed copy of Benevolent and also a copy of She & Him’s new CD, which Devon says is the kind of music her protagonists would be listening to today. You can enter both these giveaways via the links on Rafflecopter. For the signed copy of Benevolent go here, and for the She & Him CD go here. (And she’d probably appreciate it all the more if you also share the post!)
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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 YA author Laura Pauling @laurapauling
To quote Randy Jackson from American Idol: ‘The transference of emotion is what the audience wants.’
Readers more than anything want to feel what we’re feeling when we put our hearts into a story. Whether it’s heartbreak, humour, revenge, sorrow…etc. And sometimes listening to the right kind of music, a certain song that pushes my heart to its limit, can transfer over to my writing.
Stories at your fingertips
So when I was writing A Spy Like Me, I took into account that this was a fun, suspenseful story. I listened to Taylor Swift a lot. Her teenage voice and lyrics pumped into my ears while the story poured out through my fingertips. And it really helped lift my mood and emotions to where they needed to be.
A Spy Like Me is about change. Seventeen-year-old Savvy is uprooted from her home and moved to Paris, France. She lives with her dad and misses her mom. But sometimes change is what we need to find the answers. And that holds true for Savvy. Here’s Taylor’s song, Change. One of many I listened to.
The whole story, Savvy fights for knowledge. She’s tired of the lies and strikes out to find the truth…by – you guessed it – spying! But through the chaos and danger, sometimes, she wouldn’t mind going back to before it all began, when her mom lived at home and they were a family. Here’s Taylor’s song, Back to December.
Of course, living with a teenage daughter helps; and together, we’re putting together a great playlist for this spy trilogy. Kelly Clarkson: Stronger (What Doesn’t Kill you) and Break Away; Colbie Caillat: Brighter than the Sun, Natasha Bedingfield: Pocketful of Sunshine
That’s just the start. But I’ll stop there. Just watching these videos and listening to the tones and the themes give me goose bumps. Like they were written for Savvy and what she’s experiencing.
Not about the lyrics
Sometimes it’s not the lyrics of a song that match my story, but the emotion. And that’s what writing comes down to: how well the author captures the emotion behind the story. For example, Christina Perri’s Jar of Hearts: a hugely popular song. It was the sound and tone of this song. It moved me. It’s filled with this aching emotion that drives me to write. It still does when I hear it. I have yet to act on it. Someday…
Why did Adele win the Grammy? She was just singing a song about a guy breaking up with her and wishing him the best. There are countless songs like that from the past, in the present and in the future. But her big time emotion transferred to her audience. The incredible unique voice helps too. Listen to Adele sharing about Someone Like You and singing it in her home. Incredible.
Emotion on the page
In all my writing, whether a fun spy adventure in Paris or not, I strive for that emotion to come across on the page and to my readers. I will work toward that every time I sit down to write. And I’ll keep doing it.
It’s funny. I accepted Roz’s invitation to guest post on this series but waited days to write it. I knew what I wanted to say but I wasn’t sure how to approach it. It wasn’t until tonight, watching American Idol and hearing Randy say, ‘transference of emotion’ that it all came together. Why I listen to music when I write (not when I edit). Why I find songs that fit the tone and style of my writing. And why as a writer I learn so much about storytelling from listening to a heartfelt song.
Thanks for having me, Roz. It’s an honour.
Laura Pauling writes about spies, murder and mystery. Her debut novel, A Spy Like Me, is available at Amazon, Barnes & Noble, and Smashwords and her blog is here. Visit her blog before May 25 for a Spies, Murder and Mystery Marathon with guest posts and free giveaways.
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- 'Constant murmur of pouring rain, piano chords and a stormy sea'
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- 'Simple, beautiful - gripping'
- 'So original it's in a class of its own'
Kobo featured book, London Book Fair 2013
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- 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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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'