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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 spiritual fantasy author Laura K. Cowan @laurakcowan
Soundtrack provided by Eduards Grieznis, Brahms
When I first played the Brahms Intermezzi Opus 117 on the piano, I felt a sadness I couldn’t explain. My music teachers at the Interlochen Center for the Arts where I studied each summer in high school told me the first intermezzo was a lullaby, sung by a woman to her child after being abandoned by the father. It spoke to me in a way I couldn’t explain, the sadness of the abandonment, the beauty of the piece. I never forgot it. When I quit classical piano performance to return to my secret first love of writing in college, I thought music was over for me. I moved into a phase of my life in which I didn’t know how to reach my dream of being a writer, nor could I go back to the music. I was desperately unhappy, chronically ill even.
Fast forward 10 years, and I was doing it. I had faced the fear and rebuilt myself emotionally, even gone through treatment for childhood trauma that had tied me up in the first place. And then, the intermezzo returned. I was writing a novel called Lone Cypress about a former ballerina named Shana who was running from an abusive marriage and experiencing nightmares and blackouts while trying to figure out if she was possessed. Guess what I found in my research of relevant ballets for her to have performed? The Brahms. The second intermezzo, not the first, but that first lullaby began to weave itself through my story, through my character’s mind. She had been abandoned by her father. And her mother. And her husband. And herself. And the music became not just my soundtrack for this novel but Shana’s own, for a new ballet she wanted to choreograph but couldn’t until she faced her fear.
It’s not uncommon for me to compose short themes on the piano to help me understand the right moods for different pieces of my novels, an undercover soundtrack in its own right, but Lone Cypress is unique in that the music that inspired the story not only helped me with its creation but wove itself through the entire book. With Lone Cypress I learned how to walk away from my own past and into the present. The book will be out in July, and I can already feel a piece of my younger self is putting itself to rest with its publication. That’s what the Brahms is to me: the meeting of the past and present in a resolution more beautiful than I could have written for myself. Through writing this novel with the lullaby woven through it, the Brahms (played here by Eduards Grieznis) finally taught me that the most important thing is to find our way back to ourselves.
Laura K. Cowan writes imaginative stories that explore the connections between the spiritual and natural worlds. Her other novels are The Little Seer and Music of Sacred Lakes, and her first short story collection is The Thin Places: Supernatural Tales of the Unseen.Find her on Facebook and on Twitter as @LauraKCowan
authors, ballet dancer, Brahms, Childhood piano lessons, Christian suspense, classical pianists, contemporary fiction, Desert Island Discs, drama, Eduards Grieznis, entertainment, grief, Interlochen Center for the Arts, intermezzo, Laura K Cowan, Lone Cypress, lullaby, Metaphysical Fantasy, metaphysical fiction, music, music for writers, music for writing, Music of Sacred Lakes, My Memories of a Future Life, Nail Your Novel, occult, pianists, piano, pianos, playlist for writers, Roz Morris, sadness, spiritual novels, spiritualism, supernatural, The Little Seer, The Thin Places: Supernatural Tales of the Unseen, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music
Johannes Brahms reportedly referred to his third intermezzo for Opus 117 as ‘the lullaby of all my grief’. This week’s guest was studying music in summer school when she first encountered it, and was overwhelmed by its sadness. Life events interrupted her dreams of becoming a musician, but years later, when she was writing a novel about a ballet dancer, her research led her to the Brahms. She remembered the imaginative journey she had taken when she used to play the piece, and now it guided her creation of the main character and her story. She is Laura K Cowan and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, ballet dancer, Brahms, Childhood piano lessons, Christian suspense, classical pianists, contemporary fiction, Desert Island Discs, drama, entertainment, grief, intermezzo, Johannes Brahms, Laura K Cowan, Lone Cypress, lullaby, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, occult, pianists, piano, pianos, playlist for writers, Roz Morris, sadness, spiritual novels, spiritualism, supernatural, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music
My guest this week grew up on classical music. Childhood piano lessons inspired her latest novel, Feral Youth, about the relationship between a troubled teenager and a piano teacher. One pivotal scene came while she was listening to Wagner; the surging music seemed to insist she create a dramatic bonding moment between her two principals. She herself is no stranger to drama; she made her name with a semi-autobiographical novel about life in London’s Square Mile, then famously went indie because her publisher, HarperCollins, tried to brand her books as chick-lit. She is Polly Courtney and she’ll be here on Wednesday with her Undercover Soundtrack.
Childhood piano lessons, classical, classical music, classical piano, contemporary fiction, Desert Island Discs, drama, entertainment, Feral Youth, grime, HarperCollins, literary fiction, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, pianists, piano teacher, pivotal scene, playlist for writers, Polly Courtney, Roz Morris, The Undercover Soundtrack, troubled teenager, undercover soundtrack, Women Writers, writing to music
- The Undercover Soundtrack is a series where writers - and occasionally other arty folk - reveal how music shapes their work.
- It began as a companion to my first novel, My Memories of a Future Life, and now thrives as a creative salon in its own right. Pull on your headphones and join us.
- If you're curious about the novel that started it all, click the image below.
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011-2019. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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'