Undercover Soundtrack

The Undercover Soundtrack – Yasmin Selena Butt

for logo‘Music is fuel to take me where the characters go’

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 Yasmin Selena Butt @YasminSelena

Soundtrack by Jeff Buckley, Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine-Inch Nails, Skunk Anansie, Garbage, Portishead, The Cure, Interpol, Cocteau Twins, Editors

If I hadn’t have become a novelist with a 36G chest, I would have been a rock star. I’m serious.  You try learning electric guitar when you can’t see the strings, it’s dead tricky. Music is huge for me, HUGE. When I was 15, I made a decision not to live abroad because you couldn’t buy Smash Hits in Pakistan. Music back then was the only thing keeping me alive. It fuelled me. I couldn’t risk losing it.

P1000839CropIt was a huge, creative fuel when penning my debut, Gunshot Glitter.  The title might be familiar to you if you’re a fan of the singer, Jeff Buckley.  If you’re not, it was a bonus track released on his posthumous album Sketches for my Sweetheart the Drunk. I loved the song, and, if I’m honest loved the title more. The song itself is lo-fi, distorted, wobbly but utterly impassioned.

Crime drama morality tale

In my novel, Gunshot Glitter is the name of an infamous London burlesque club. How would I describe the story?  It’s the genre-bending story of an incinerated boy who never quite goes away; a morality tale, broadly a crime drama. I was thrilled it was shortlisted as a self-published read by The Guardian last year, along with the tome of my kind blog host Roz Morris. (Thanks! – Ed)

This year, I hope to give it the launch it deserves. It hasn’t had that yet for good reasons. Last year, I almost died of anaphylactic shock at a club on the launch of the print edition. It was a surreal way to discover you now possess a lethal shellfish and nut allergy. This year I hope to do the novel justice.

While writing it, I used mainly alternative music as a fuel to take me to the places where the characters go, especially Celine, the protagonist. And some of the songs I played also feature in the novel.  When I listened to them, I got so immersed in the music, the songs become little stories within themselves, almost like an operetta with tragedy and pathos in spades running riot in my head. I made two CD compilations ‘Black Glitter’ and ‘Angry Glitter,’ depending on where I needed to go creatively, each featuring 18 songs.  Black Glitter was achingly emotional, gut wrenching and tender.

Angry glitter

Bands featured on Angry Glitter included Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine Inch Nails, Skunk Anansie. Garbage’s Vow from their debut album is amazingly powerful. I played this song literally on repeat when writing some of Celine’s pivotal scenes when she made some of the darkest decisions of her young life. Portishead’s incredibly sexy Strangers ended up featuring in a bittersweet memory for Cornelia:

She had been obsessed with Strangers with its melody full of dark, sexy suggestion. It turned her on. She even choreographed an examination piece to it. Cornelia put it on and, when it kicked in with its sleazy, dark electronic riff, she winced. Now she hated it. It reminded her of all she’d lost. It’s just music, she said fiercely through gritted teeth, ‘just music!’ Music could never punish her like her own guilt could.

The Cure is a band that bonds lovers Anis and Celine. I played Disintegration heavily when writing their more intense scenes. And Interpol’s Narc rears its head in the aftermath of their sex, like a shadow in the background on the wall.  Other songs such as Blind, Dumb Deaf by The Cocteau Twins, was just powerful, no intelligible words as Liz Fraser doesn’t use them, but you can’t help but feel a strong sense of foreboding when you hear it, and, when I was getting inside protagonist’s Cornelia Friend’s twisted head  this track made me think of her.  It made me think of someone splintering on the inside, as did  Editor’s Munich.

GG front cover resized promo(808x1280)There is a darkness, intensity, danger, sorrow, passion and fury that dominates the music that literally leaches out onto the pages. When you have great music, fuelling your fingertips, you’re almost obliged to create an impressive result to justify the privilege of what you’re listening to.

When you read the behemoth or listen to the soundtrack, I’ll let your ears and eyes decide if the fifteen year old girl who grew up to write that novel, made the right call to coming home to grow up in London. I hope you believe that she did.

Yasmin Selena Butt was born and lives in London. She has worked in the Maldives as an English language trainer, freelanced in marketing and been published by The Times as a music writer.  She has also written over a thousand poems, exhibited her fiction and photography and performed her debut reading at Proud Galleries in Camden. She adopted ‘Selena’ as her middle name in 2000, after meeting a concierge who told her the story of the naming of his own daughter, Yasmin Selena. She has since repaid the favour by naming a character in Gunshot Glitter after him. Gunshot Glitter is available from Amazon, Kobo and Smashwords and in print from her website. Tweet her as @YasminSelena

Undercover Soundtrack

‘Music is fuel to take me where the characters go’ – Yasmin Selena Butt

for logoMy guest this week swears that if her chest hadn’t obscured her view of her guitar, she’d have been a rock star. Some of her early life decisions were dictated by the need to be connected to music, and when she wrote her crime novel set in a London burlesque club, she had two flavours of playlist – angry and dark. Fiction nearly became reality when she had a near-death experience at her book launch – which I was startled to hear because I remember when her cheerful invitations were circulating on Facebook. Thankfully she lived to tell the tale. She is Yasmin Selena Butt and she’ll be here on Wednesday with her Undercover Soundtrack.

Undercover Soundtrack

The Undercover Soundtrack – TJ Cooke

for logo‘Searching for truth’

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 crime novelist TJ Cooke @Timscribe

Soundtrack by The Who, Talking Heads, Captain Beefheart, Jon and Vangelis, Joni Mitchell, Deep Forest, Marta Sebestyen, Squeeze, Louis Armstrong, John Lennon

There is rarely a day when I don’t listen to music. Occasionally I listen whilst actually writing, but rarely, as I find it too distracting. However I will often be listening to something just before a stint at the PC or laptop.

Sometimes I choose a piece which tends to inspire creativity, to help develop a specific character, scene or location. On other occasions it works in reverse. I will actually be working on something and it will remind me of a specific piece of music. Either way music has always helped the creative juices flow.

Here are some examples from my novels Defending Elton and Kiss and Tell.

TJ CookeDefending Elton

Lead character Jim Harwood, who narrates, has a passionate but all too brief liaison with the seductive Sarena. Her sudden disappearance from his life is something he finds hard to come to terms with. This powerful song evokes both loss and desire. Not only does it resonate with his feelings, but also with a key location in the story, Beachy Head cliffs.  It is synonymous with the film Quadrophenia, being from the album of the same name, but conjures up far more.  I remember driving along the clifftop coast road with Love Reign O’er Me by The Who playing loudly… thinking about Sarena’s demise, and how Jim had lost his fleeting but passionate love.

I couldn’t write this without devoting a song to Elton. In a way he’s the star of the show and was based on a character I knew way back when. Elton doesn’t fit neatly into any box. He has serious mental health issues which manifest themselves into bizarre ‘episodes’. Sometime he will appear quite ‘normal, only to morph seconds later into a caricature who spouts random words, song lyrics and general ‘nonsense’. Lack of proper funding for the mentally ill means there are way too many Eltons trapped in the criminal justice system. Talking Heads often tackled challenging issues. I often listened to Once in a Lifetime before writing some of Elton’s more obscure dialogue.

I’m pretty sure that unorthodox lawyer Jim Harwood would be a Captain Beefheart fan, probably on the quiet. It fits in with his flippant and sometimes chaotic character, which grates against the rigid structures of the law. Jim’s own demons mean that he invariably seeks a place to escape from it all, his Clear Spot.

Jon Anderson’s unique voice, probably the antithesis of other ‘rock’ leads, has an earthy connectivity. There’s a section in the book where Jim is driving back from the south coast having just done something quite despicable. Traumatised by events, he starts to hallucinate as visions of Sarena’s dead body etch themselves onto his car windscreen. I’ll Find My Way Home would be playing on his CD, as his path to redemption kicks in.

What a voice Joni Mitchell has, and in The Pirate of Penzance she uses it skilfully to create a truly atmospheric piece of music. I recall listening to this song before penning some of the darker narrative in Defending Elton. It isn’t indicative of a specific moment, more of general mood. I always find it haunting.

 Kiss and Tell

Marta’s Song by Deep Forest and sung by Hungarian singer Marta Sebestyen helped me to picture the character of Bella in Kiss and Tell. She is a Hungarian national who lost both parents in a car crash before coming to Britain with her brother. Her brother then abused her by forcing her to work for his drug smuggling ring. This piece of music is evocative of a lost soul.

elton-frontMany of my characters’ songs follow a particular journey in life. When I was trying to imagine what the character of Jimmy was like when younger,Squeeze’s Cool for Cats sprang to mind. Like many of their songs it has sharp urban lyrics. Jimmy was hiding his criminal exploits from Jill. His ‘Jack the lad’ image was just a front, but it had devastating consequences.

Louis Armstrong has a beautiful and distinctive voice. When we pick up Jill Shadow’s story 12 years on, with her ex Jimmy now released from prison, she is unsure how to deal with feelings reawakened. I listened to We Have All The Time In The World, which helped me to empathise with Jill. It conjures up the immense hope that is offered by young love. When we’re young we have little understanding of the realities of time or growing old, or of the frailty of our ‘first love’.

There are various themes of ‘truth’ throughout both Kiss and Tell and Defending Elton. It’s a theme I struggled with myself when younger. I had been denied truth by my adoptive parents, and could never understand why my adoption was treated as taboo. Some years later I worked in the criminal justice system, where I discovered that truth was often a football kicked about by both sides in an adversarial game. I became wary of accepting ‘truth’ at face value, and it’s no surprise that it features as a theme in my writing… Cue John Lennon and Gimme Some Truth.

TJ Cooke, otherwise known as Tim, was formerly a lawyer before becoming a legal adviser to television dramas in the UK . He went on to write many hours of broadcast drama himself, notching up writing credits for some of UK’s most popular series. He is the author of two crime fiction novels Kiss and Tell and Defending Elton, and has an inventive take on the genre. Tim currently lives in Devon, UK. For further details, and to follow his blog, visit his website or follow on Twitter as @timscribe.

Undercover Soundtrack

‘Feelings awakened and reawakened’ – TJ Cooke

for logoMy guest this week says he uses music before he sets hands to keyboard, to help conjure the creative mood. Sometimes it works the other way around; he’ll be writing and will realise the mind-jukebox is directing a scene to the structure or lyrics of a song. He trained as a lawyer but quickly found a creative outlet as a legal adviser on TV dramas. From there he began writing some of the UK’s most popular series and is now a crime novelist. Funnily enough, one of his key songs is Jon & Vangelis’s I’ll Find My Way Home, which one of my earliest guests used as a touchstone for his MG novel – isn’t it amazing how one piece of music can inspire such diverse ideas? He is TJ Cooke and he will be here on Wednesday with his Undercover Soundtrack.

Undercover Soundtrack

‘Broken atmospheres and clashes of sensation’ – JJ Marsh

for logoI’m rather fond of Jan Garbarek and Aphex Twin, and I’m delighted to see them working their influences on my guest this week. A crime novelist, she gathers soundtracks to make sure her stories stay true to the mood she has envisaged for them. She looks for music with a sense of tension, loss, instability and says that Garbarek in particular tells her stories – and even gave her a title.  She’s also spent years searching for a very influential novel she read as a teenager. If you can identify it, she might send you a special prize (although she might be joking). She is JJ Marsh and she’ll be here on Wednesday with her Undercover Soundtrack.

Undercover Soundtrack

The Undercover Soundtrack – Terrence McCauley

for logo‘Through the cold, lonely streets of NYC’

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 award-winning crime writer Terrence McCauley @tmccauley_nyc

Soundtrack by Bruce Springsteen, 3 Doors Down, Everlast, Rolling Stones, Hinder, The Heavy, Hans Zimmer, Lisa Gerrard, The Band Perry, House of Pain, Rob Zombie

People who know me or have read my work may be surprised by how much music influences my writing. I don’t listen to music when I write or even edit, but at other times, a chance song on the radio or browsing the musical selection on my phone can help spark an idea for a scene or an entire story line.

Footsteps and car hornsme hat

The best examples are the novels I’ve written. The first – Prohibition – is a crime novel set in 1930 with an opening scene of the protagonist stalking someone through the cold, lonely streets of New York City. One could be forgiven for believing that scene was inspired by any number of noir movies – of which I am a huge fan – but in this case, they’d be wrong. The opening scene was inspired by Bruce Springsteen’s song Murder Incorporated. When I heard that song for the first time, the drum beats that open the song reminded me of footsteps echoing on an empty street as someone is fleeing for their life. The sax sounded like car horns blaring past the unfortunate man now on the run.

The ending of the novel (which I won’t give away here) was inspired by 3 Doors Down’s Love Me When I’m Gone, a mournful tune that fit the ending of the book rather nicely.

Hard luck cases

My novella Fight Card: Against the Ropes is a prequel to Prohibition and details the protagonist’s boxing career before he became a mob enforcer. The protagonist – Quinn – has always had his own soundtrack in my mind that was different from the over all soundtrack of whatever story in which he appears. In Against The Ropes, Quinn’s soundtrack comes to the fore: Everlast’s What It’s Like is a song about hard luck hard cases, a description that fits the Quinn character nicely. The ending of the book, where Quinn accepts the inevitable end of his boxing career and agrees to become an enforcer for the very men who have ruined his career, was inspired by the Rolling Stones’ Sympathy for the Devil. The crafty, patient villainy of the song seemed appropriate for Quinn’s acquiescence of a life of crime.

The third book I have out now, Slow Burn by Noir Nation Books, is also set in 1930s New York, but the protagonist is a police detective named Charlie Doherty. He’s a corrupt, impure Tammany Hall hack and a man whose life is on a downward spiral. His wife left him, his career is ending in ignominy and he’s running out of reasons to get up in the morning. The melancholy, yet strong song Better than Me by Hinder suited Doherty well and I wrote the story with that tune in mind. Some people who have read Slow Burn think Dean Martin’s Ain’t That a Kick in the Head inspired the ending. But I thought of a more triumphant, slightly cocky song. How You Like Me Now by The Heavy worked best and it gave me inspiration for the ending scenes.

Slow Burn CoverRedemptions

Music doesn’t only influence the beginning and ends of my books. I also draw inspiration from music for other types of scenes I write. For more sentimental scenes, I listen to the theme from The Shawshank Redemption soundtrack or Now We Are Free by Hans Zimmer and Lisa Gerrard from the Gladiator soundtrack. The Band Perry’s If I Die Young inspired me to write a few scenes for a western I’m working on now called The Devil’s Cut.

My work tends to have a lot of violence and action, and music plays a role in my crafting of those scenes as well. House of Pain’s Jump Around as well as Rob Zombie’s Super Charger Heaven have hard, edgy, fast-moving tempos that get the juices flowing and help me create scenes that pop.

Terrence P. McCauley is an award winning crime writer. His latest novel, Slow Burn, is currently available in e-book format from Noir Nation Books on Amazon. His other books Prohibition, published by Airship 27, and Fight Card: Against the Ropes (Fight Card Books) are also available on Amazon. His website is here and you can follow him on Twitter @tmccauley_nyc and Facebook.

Undercover Soundtrack

‘Footsteps and car horns’ – Terrence McCauley

for logoMy guest this week says his friends assume his crime novels are inspired by other noir thrillers, but in fact they’d be wrong. His novels have all come from songs. An opening scene sprang from Springsteen; the relentless grind of a fight from House of Pain; a tender moment from the soundtrack to Gladiator. He is Terrence McCauley and he’ll be here on Wednesday with his Undercover Soundtrack.