Posts Tagged Coldplay
The Undercover Soundtrack is a series where 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 debut novelist Leslie Welch @Leslie_Welch
Soundtrack by Dave Bielanko, Christine Smith, Chris Rattie, Gus Smith, Snow Patrol, Coldplay, The Temper Trap, Green Day, Red Hot Chili Peppers, Kanye West, Imagine Dragons
‘We’re recording these old songs at a church in Millheim. You should stop by.’
Intrigued by the invitation, my husband and I made the 22-mile drive from our hotel in State College to the post-industrial town. Back then, Millheim was growing into the unlikely heart of a serious music scene in Central Pennsylvania. That visit would eventually work its way into a novel I didn’t know I was going to write.
Dave Bielanko and Christine Smith (of Marah fame) had enlisted our friend Chris Rattie to play drums on Mountain Minstrelsy—a collection of old mountain songs they had resurrected with new music. Given the people involved, I expected the session to be different, but we walked into an all-out revolt against modern recording. Recording based on intuition instead of algorithms. My internal monologue alternated between, ‘This is so freaking cool’ and ‘How can this possibly work?’
A tangle of cords, amps, and a giant mixing board crowded the back of the sanctuary where greeters used to welcome people to worship. Mics were set up wherever there was good, natural reverb. Not a computer in sight.
Two towheaded boys chased each other through the pews in loops around us as we checked out the set-up.
‘Who are the kids?’ I asked.
‘The taller one is our fiddle player,’ Chris said. ‘Hey, Gus! Come over and play something.’
Eight-year-old Gus scooped up his fiddle and ripped out a quick melody that sucked me into a serious religious moment. The kind of experience that makes you doubt you could ever be good at anything in your life. That’s what happens when you experience a prodigy in person. Here’s Gus Smith.
Gus, undoubtedly used to these impromptu performances, gave us a look that asked if that was enough of a demo. Before our claps faded into the narthex, he was back to the business of chasing his brother around the church.
While the idea for my novel The Goodbyes wouldn’t come for a few months, I collected plenty of inspiration at that session. Fast forward to November of 2014.
Searching for a Soundtrack
With an idea begging for a blank document and a NaNoWriMo deadline, I sat down to write. Since the story was about Webb Turner, a rock star who races through a blizzard to possibly say a final ‘goodbye’ to the girl who inspired his songs, I packed my writing playlist with songs I thought Webb might write. Snow Patrol, Coldplay, and The Temper Trap dominated the two-hour loop. But when I pressed ‘play’, I found myself skipping each track after a few seconds.
I switched over to my music library, hoping the universe would step in. Song after song, nothing kept me writing for more than a sentence until I skipped my way to the one thing I would have never chosen—Tibetan Monks chanting. Yes, really. I didn’t care what it was, it shifted me into the zone. I tapped out a chapter or two on the train ride home.
When I wasn’t writing, I listened to popular music from the 90s and early 2000s. Green Day, Red Hot Chili Peppers, even Kanye West and Nickelback transported me back to the spirit of that time. These songs play in the background of a lot of scenes in the book. They’re important to the characters, too.
I finished the first draft in a month. Once I had let it rest for a few weeks, I started the slow and painful process of editing. It wasn’t long before I realised that I needed more than ‘Oms’ to paint the flesh onto the bones of the story. My filmmaker husband suggested listening to movie soundtracks for some momentum. I quickly discovered that these epic melodies, swelling and crashing without apology, are gold for writers who want to add drama to key scenes. The Great Expectations soundtrack hit an especially sweet spot for me.
When it comes to creating a writing playlist, what works for one book might not work for the next. My current manuscript likes The Lightning Strike by Snow Patrol and Radioactive by Imagine Dragons. It’s a nice change, but in the end, the most important thing is finding anything that inspires me to keep moving until I can punch out the two best words in a writer’s journey: The End.
Born in Toledo, Ohio, and raised in the North Hills of Pittsburgh, Leslie Welch spent most of her youth concocting elaborate stories. Her high school English teacher encouraged her to turn these creative lies into creative fiction. Today, Leslie writes at least 1000 words a day on DC Metro orange line trains. She co-wrote her first book in Harrisburg hotel rooms and diners with her best friend, and in 2016 she released her first solo novel, The Goodbyes, published by Blue Moon. When she’s not off exploring the world, Leslie lives in a house full of laughter outside of Washington, DC, with her soulmate, two cats, two dogs, two fish, and a teenager. Find her website here and tweet her as @Leslie_Welch
The Undercover Soundtrack is a series where 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 MG/YA novelist and vignettist Theresa Milstein @theresamilstein
Soundtrack by Coldplay, Madonna, Seal, Nik Kershaw, the Smiths, the Smashing Pumpkins, the Cure, Colin Hay, Seatbelts, Arcade Fire
My new collection of vignettes, Time & Circumstance, was written over the span of five years, so many songs influenced its creation. I honored this connection when I named the two sections of the book. The first section, filled with prose pieces, Tempo Adagio, evokes a slower pace. The second section, filled with poetry, Tempo Allegro, evokes a brisk pace. I couldn’t imagine this collection coming together without musical influence.
Coldplay’s song Violet Hill inspired my early flash fiction piece Violet’s Hill. The darker sound and the first lyrics about a bleak December and his plea during the melody set the right mood for the story of unrequited love. I originally wrote the piece for an anthology, 100 RPM: 100 Stories Inspired by Music.
For the short story Injustices, a stalker is watching a woman dancing in the apartment across the alley as he imagines her listening to Madonna. I heard the song Like a Prayer because it has the right tempo for someone getting ready for work in the morning. Although it’s different than the music I usually listen to, the song helped me pictured the scene more vividly.
When I wrote the story Left-Behind about death and Birthday about a miscarriage I experienced, I listened to Seal’s 1994 album, especially the song, Don’t Cry. A few songs are about mourning, which helped me deal with the feelings of loss.
The poem 1986 brought back my days as a punk girl hanging in New York City. Because I mention the movie Pretty in Pink, I thought about the soundtrack’s influence on me. Two songs from the soundtrack I especially connected with are Wouldn’t it Be Good by Nik Kershaw and Please Please Please Let Me Get What I Want by The Smiths. I was an angst-ridden teen.
Steam Punk is about a caustic relationship. To get in the mood for that, I listened to one of my favorite songs, A Forest by The Cure because of the strong beat and mood.
I recalled my first years of marriage when I wrote First Apartment. Grunge was big then, and I especially loved Smashing Pumpkins. Their album Mellon Collie and the Infinite Sadness played when I wrote it. My favorite song from that album is 1979. It was a coming of age into adolescence song for songwriter and singer, Billy Corgan, and here I am using it as a coming of age into adulthood song for me in the 90s. We’re both experiencing nostalgia.
I actually credit the song Waiting for My Real Life to Begin by Colin Hay for the Revision poem, which humorously portrays writer’s block. In a moment when I was feeling particularly down about my work and thought I’d never become published, I listened to his song over and over.
The song Measure is about my son practising his sax. When he joined jazz band, he always warmed up with the same tune. One day, it struck me how much he’d improved. The song started as an intrusion into our home, and then became pleasant background. When he goes off to college, I will miss it. I don’t have a clip of him practising, but I do have Tank by the Seatbelts.
The last song in the collection that inspired me was The Suburbs by Arcade Fire from the album The Suburbs for the poem Boundaries. I wrote it in response to the hateful political rhetoric I’d been hearing to contrast it with my experience working with immigrant children in a school and also compared it with my children’s experience living in a suburb. For me, the song symbolizes the destruction of the west. It became the perfect background for the feelings I needed to express.
The back cover of Time & Circumstance states: ‘the unrelenting passage of time connects the vignettes’. Reviewing my song choices as a soundtrack, I have a strong sense of nostalgia tying the collection together. It was nice to relive some of my favorite teen songs when writing some of these pieces. I also appreciate the tone of the songs reflecting the many poignant moments throughout the collection.
Theresa Milstein writes middle grade and YA, but poetry is her secret passion. Her vignette collection, Time & Circumstance, is published by Vine Leaves Press. She lives near Boston Massachusetts with her husband, two children, a dog-like cat, and a cat-like dog. For her day job, she works as a special education teacher in a public school, which gives her ample opportunity to observe teens and tweens in their natural habitat. Find her website here, contact her on Facebook, or tweet her @theresamilstein.
The Undercover Soundtrack is a weekly series by writers who use music as part of their creative process – special pieces that have revealed a character to them, or populated a mysterious place, or enlarged a pivotal moment. This week’s post is by prolific YA novelist Nicola Morgan @nicolamorgan
Music and I have an odd relationship. If I say “There was no music in my life until I was eleven”, you’ll think I’m being melodramatic or metaphorical. No. My extremely unusual childhood was full of amazing freedoms, but no music. Or rather, we didn’t listen to it at home, ever, and since home was school, I didn’t listen to it at all. There was a school choir and I sang in it, but that, being for chapel, was somewhat narrow in its tastes. Anyway, it wasn’t till I went to boarding-school that music appeared, and by then I lacked the musical parts of my brain. (Confirmed when I tried to learn the oboe as an adult.)
Yet, if I’m writing fiction, there must be music. And I’m pedantic about the choice. It has to be just right for that piece of writing. Once I find the album, I play it over and over. And over. Sometimes I have to play it through headphones because my family shout, “NOOOO!”
A kick in the heart
It’s not background music. It’s not just to block out the real world – though it must do this, too. But it must be more invasive. It needs to kick me in the heart, make me sing – sometimes literally. It needs to take me to a place where fiction dwells and worlds can be created.
What music? The word my family use to describe the music I write fiction to is “anthemic”. They will suggest a new band or album and say to me, “You could write to that.” It must have powerful melody, rhythm and emotion, in both the music and the words. And there must be words. I think as well there must be colour. And music with colour – an aspect of synaesthesia – is something that’s hugely a theme of Mondays are Red.
Losing my religion – in yellow
So, exactly what is on my Undercover Soundtrack? When I was writing The Passionflower Massacre (Hodder, 2005) it was R.E.M., mostly Around the Sun, though in fact I quite wanted to call the book Losing My Religion. R.E.M.’s music is rich and golden, warm and vibrant, mysterious and with odd meaning. And The Passionflower Massacre is a book like that. I think the book is more yellow, more summery than R.E.M., though, but the Around the Sun track is perfect.
Sleepwalking (Hodder 2004) was Sting. Sting and the Police are cold, thin blue, the wail of a heartless future. That’s how Sleepwalking feels to me. The Highwayman’s Footsteps (Walker 2007) was Franz Ferdinand, rich with reds and blues and excitement; The Highwayman’s Curse (2008) was Franz Ferdinand again and The Kaiser Chiefs, harsh, cruel, jangly, angry, steel grey and blood red with the horror of religious hatred.
Wasted was a strange mixture: Belle and Sebastian, Muse (Uprising – love it!) and Beautiful South. With smatterings of REM again. It’s not a violent book, more thoughtful, and if it had a colour it would be an impossible blue lilac disappearing at all its edges. (For your interest, the main character is a girl with music-colour synaesthesia.)
Everything I want for a dark book
And the novel I’ve just finished, Brutal Eyes, is pure Coldplay – mostly Viva la Vida but with the recent revisions written to Mylo Xyloto, especially the phenomenal Us Against the World and Every Teardrop is a Waterfall. Those two songs are everything I want in music for a dark book. You can hear every rasp of Chris Martin’s breath, every squeak of finger on string. You can hear his eyes close, his shoulders move. It has enormous emotional heart. I’d like to hope it lends some of that to the book. Funnily, Brutal Eyes doesn’t have a colour for me.
What did I write Write to be Published to? Nothing! I couldn’t possibly write non-fiction while listening to music!
Nicola Morgan is an award-winning author, with around 90 published titles, and a growing list of self-published titles. She is well-known to aspiring writers for the honest advice on her blog, Help! I Need a Publisher! and a book – Write to be Published – published by Snowbooks. Notable works include her famously gruesome novel Fleshmarket; the Aventis shortlisted Blame My Brain: The Amazing Teenage Brain Revealed; and Wasted, which was longlisted for the Carnegie Medal and won or was shortlisted for many awards. Mondays are Red was originally published in 2002 and Nicola has now created a new edition for ebook format, including some extra material such as creative writing by school pupils. This time, she is publishing it herself, with the help of her agent. Follow her on Twitter @nicolamorgan