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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 award-winning percussionist Pete Lockett @petelockett
Soundtrack by Pete Lockett with Björk, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong, Nicko McBrain, Iron Maiden, U Shrinivas, Ronan Keating, Vanessa-Mae, Errol Brown, Rory Gallagher, Pet Shop Boys, Hari Haran, Kodo, Amy Winehouse, Mel C, A R Rahman, Sinead O’Connor
This music is just incredible; I’ve never heard anything like it before.”
I doubt if anyone outside of this community ever has. This is what you get when Brahms and Bach have been living next door to one another for hundreds of years.They don’t even use notation any more.They’ve just devised a way to conduct the whole group with nods, looks and head shakes.Look, can you see them there at either side? Bach is doing all the spiky staccato stuff and Brahms is doing the smooth legato.It’s all totally improvised and will never happen again. Every rendition is completely different.They both claim that it is the highest level of composition one can reach.Instantaneous composition, conducting and performance.”
When Ed Trew wakes up with a killer hangover, little does he realise that it is the beginning of a mind-boggling journey of revelations and surprises that completely reshapes his view of the world. In the midst of chaos and confusion he becomes completely seduced by music.
It’s no surprise that music and the arts so often act as a liberating influence, giving some lucky individuals the chance a world of creativity and hope. I am grateful to fate to have been propelled out of an ordinary, functional and less than satisfying existence. Music came and lifted me away and showed me a path towards self fulfilment where my mind could become a canvas for fresh ideas. Everything about music fascinated me and as I grew, I slowly started absorbing influences from every corner of the globe, from India to Africa and Nepal to New York – the systems and techniques, sounds, colours and moods. It also led me to a much deeper understanding of people, their motivations, formalities and habits. The way people make music reveals a lot about the culture from which they have flourished.
This ‘open plan’ consumption and integration of varied influences naturally became a cornerstone of my writing when I finally got around to penning a novel. Having had a great degree of freedom in my interpretation and mixing of musical styles, it was natural that this approach got carried over into ideas and stories.
When I sit down and compose music, I start with nothing. That moment of making the first sound or writing the first note is always special, all the more so because I have no idea where it is going to lead. This influenced me directly to try the same thing with words, to take a simple starting point and embark on a journey, not knowing where or how I would get between the various points along the way.
I knew I wanted to have the same freedom that I find in music, able to bring together seemingly disparate concepts and make a new sense out of it all. To be unbound by all that is ‘normal’ but convincing enough to create a dialogue that stands up under scrutiny. As I wrote more and more, I was amazed about how similar the creative buzz was between both of them. I never thought I would find anything that gave me the spiritual lift that music making did but was convinced otherwise during the writing of A Survivor’s Guide to Eternity.
Just as I would embark on so many journeys with my work as a musician, so the character in my book is thrown headlong into an incredible journey, except his is through life, death, reincarnation and the afterlife. Little does he realise that it’s the beginning of a mind-boggling journey of revelations and surprises that completely reshapes his view of the world.
Structure and suspense
Once I really started to get into it, the writing and music began to feed one another even more in quite an inspiring way. A good gig would send me straight back to the hotel with my laptop to get writing and vice versa. I began to think through certain pieces of music and see how the suspense built up over a set time frame, keeping the listener engaged and waiting for the next development. Indian classical music is perfect for that, especially over long periods of time. I began to experiment to see how I could mirror that in my storytelling, sowing seeds and planting suggestions, but all the while keeping the reader impatient for the detail of the next development. As I thought about it, more and more parallels became apparent between literature and music.
Before I knew it I was unconsciously taking on board the broad shapes of pieces of music, flowing like a river around bends and over rocks, sometimes calm and sometimes ferocious. It gave me a great insight into how to approach the timeline within the novel, sometimes going slowly and patiently before propelling it through rapids and over rocks down towards a calming resolution.
There’s so much in common between the two disciplines. One tells a story with words and the other with sound. We need to keep the listener/reader interested with suggestions but not in a way that paints an obvious picture. We need to create suspense, excitement, anticipation and resolution. I never thought they would be quite so interlinked.
Pete Lockett has recorded and/or performed with Björk, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong, Nicko McBrain (Iron Maiden), U Shrinivas, Ronan Keating, Vanessa-Mae, Errol Brown, Rory Gallagher, Pet Shop Boys, Hari Haran, Kodo, Amy Winehouse, Mel C, A R Rahman, Sinead O’Connor and many more. He arranged and recorded ethnic percussion for five Bond films and other Hollywood blockbusters and has taught and lectured worldwide, including The Royal College, Berklee School of Music Boston, and The Royal Academy of Music in London. He is the author of Indian Rhythms for the Drum Set (Hudson). A Survivor’s Guide To Eternity is his first novel. Here he is on a mountain with percussionist Benny Greb. Find him on Twitter @PeteLockett
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My guest this week is a percussionist who has worked with an astonishing list of world-class musicians – Bjork, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong – and more. He found that his music fuelled a desire to write a novel, and after a good gig he would rush back to his hotel room, eager to pour out the next chapter. He says he wanted to take a simple starting point and construct an epic journey that ventured outside the normal – bringing together birth, death, the afterlife, reincarnation and immortality into new coherence, and echoing the journey he takes when working with musicians. The result is A Survivor’s Guide to Eternity; he is Pete Lockett and he’ll be here with his Undercover Soundtrack on Wednesday.
A Survivor's Guide to Eternity, authors, Bill Bruford, birth, Bjork, Craig Armstrong, Damien Rice, Dave Weckl, death, Desert Island Discs, Dido, drama, drummer, entertainment, immortality, Jarvis Cocker, Jeff Beck, Lee Scratch Perry, male writers, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nelly Furtado, percussionist, Pete Lockett, Peter Gabriel, playlist for writers, Primal Scream, reincarnation, Robert Plant, Roz Morris, speculative fiction, Survivor, Texas, the afterlife, The Undercover Soundtrack, The Verve, Thomas Lang, Trans-Global Underground, undercover soundtrack, Ustad Zakir Hussain, world-class musicians, writers, writing, writing to music
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 Scott D Southard @SDSouthard
There is usually nothing more important to me than the music I have playing while writing a book. Music can inspire me, engage me, keep my energy up when I need it to be up. It sets the mood for me, and the right song can pull the right levers to get me to go from point A to point B in a plot. It has also been known to drive the people that live with me crazy since while I am writing I may play a CD a few too many times (Just ask my wife about the writing of My Problem With Doors and my nonstop playing of O by Damien Rice; an album I am forbidden to play in her presence again). But what I used for A Jane Austen Daydream was something surprisingly contemporary. This was not something for Liz Bennet to dance to (but she might if given the chance).
A Jane Austen Daydream, my latest novel, was inspired by two ideas.
The first was the desire to fix a great injustice that fate had bestowed on Jane. Jane Austen did not have a romance, she did not find the happiness she gave so many of her characters; instead she died in her early 40s, far too soon, with work still to complete and no love to mourn her. That’s where my book comes in; in it, I re-imagine her life as one of her novels. Trying to guess the story she would have liked for herself, filling the missing little holes with characters from her books and plots she created as well.
Over the course of the novel (filled with adventures, wit, proposals, misunderstandings, and surprises) we follow Jane as she grows in her understanding of love and becomes the writer the world holds dear… and then there is the love affair (the second idea), but that is a major literary twist I don’t want to ruin here. There is a chance it might be the first time it was attempted in a novel.
Looking over the catalog of Belle & Sebastian (and I am a fan, owning everything I can get my hands on), desperation seems to be one of the themes that never leaves Stuart Murdoch (the main songwriter) and his songs. Belle & Sebastian are truly a band made for writers, since their songs are little stories, little character vignettes. He wants to find meaning (and so does his characters), understand what is going on in the world. And just like Jane in my book he seems to believe that there is some great truth to discover, to fall back on. If life was only that simple, Stuart.
I can’t escape my novel when I listen to their CD The Life Pursuit and certain songs stir emotions bringing me right back to the creation of the book. See, right from the opening of Act of the Apostle, Part 1 I feel myself returning to that time, as if on cue that old writing part of my brain kicking in. Starting up the right CD to begin writing is a ritual for me, from pressing play to the cracking of my knuckles.
The moments ‘borrowed’ from music
One favorite song from the CD is Funny Little Frog. A lonely and depressing love story sold around a song that almost has a Motown feel to it (even with horns). When I was writing the first part of the book, in which Jane convinces herself she is in love (she is not) and the questionable male is as well (he is not), this song screamed at me; and I know there were evenings where it was on constant repeat. And, I must admit, some of the song sneaked into the section, with Jane imagining futures with this man, allowing her creative mind to run away with her (just like the character in the song). The song truly was infused throughout that writing, right from the beginning to its wonderful last line.
Another song that brings me right back to my writing desk is For the Price of a Cup of Tea and I’m pretty sure this song inspired something unique to Jane’s books. See, in my novel I try to keep every setting from her books, there is nothing foreign really there… Well, except the tea shop in her hometown. This was a device/location I used it in each volume of the book for Jane to meet with her friend Harriet. If that tea shop existed in reality, this song would be on the stereos in the background since the metre and pace of the song feels like those scenes. (Wait, did I just say there would be a stereo in the 19th century? Bangs head on desk, in embarrassment.)
Oh, and when I hear White Collar Boy I picture Jane running through a field. It doesn’t make sense at all. I know that, but that’s creativity and inspiration for you.
Scott D. Southard’s most recent novel is A Jane Austen Daydream (Both available in print as an eBook); his other novels are My Problem With Doors and Megan. He can be found on the internet via his writing blog ‘The Musings & Artful Blunders of Scott D. Southard‘ where he writes on topics ranging from writing, art, books, TV, writing, parenting, life, movies, and writing. Scott received his Master’s in writing from the University of Southern California. He is also on Twitter and Facebook.
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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 bestselling romantic novelist Fiona Walker @fionawalkeruk
If I know I’m not going to be overheard, I sing – in the bath, on long dog walks, and when writing, or more realistically the thinking pauses between writing. This habitual distraction is also creative inspiration. It’s no coincidence that characters sing in many of my books, from my first novel French Relations in which dinner party guests gather around a piano to perform Eric Clapton’s Wonderful Tonight, to my twelfth novel The Love Letter, where my heroine inadvertently finds herself duetting an old Bo Diddley number with her ex boyfriend in the local pub. That song, You Can’t Judge A Book By Its Cover, is a joyful riot of old-time rhythm and blues that also feeds into the themes of a novel in which characters are not as they first appear, most especially a reclusive writer who hides his identity behind a pen name.
As a romantic novelist with a reputation for raunchy romps, I appreciate Bo Diddley is a far cry from a power ballad, but I once bought The Greatest Love Songs In The World…Ever to listen to when writing passionate scenes – much to my husband’s hilarity – and it was the most awful backing track from which to seek inspiration, like writing on the dance-floor at an over-40s singles night. Most of the music I listen to when I write is white noise, and if I’m on a roll I don’t notice it at all, until that one song sticks, and that’s when inspiration strikes.
When a song connects with a book’s plot, I often play it – and sing it – day and night, and it occasionally even gets woven into the text. This means that I have to be very careful what I listen to when writing. It once cost me almost as much as a new car to gain permission to quote six lines of a Jim Steinman track that I couldn’t get out of my head, after which I not only stopped featuring heroines who were Meatloaf fans, but also monitored my listening habits and now tailor them to each book. I keep a limited number of CDs ripped to my computer, so if I’m not listening to the radio, I’m going through the same albums on a loop, many of them instrumental. The energetic Brazilian guitarist/percussion combo Rodrigo y Gabriela fuelled the first draft of The Love Letter; the sultry Gotan Project added tempo; saxophonist Jan Garbarek injected cool, and I played endless Mozart for jollity and Bach for comfort.
When the rough plot of The Love Letter was in place, that tailor-made compilation changed to vintage Kate Bush, Stravinsky’s Firebird Suite, Bjork and Birdy, all inspiring the book’s larger than life characters, comic melodrama and coastal setting, as well as a very long, flirty seduction in a fairytale tower. Yet it was when googling something entirely unconnected that I found the Bo Diddley song that fitted the story so well that I couldn’t stop playing it.
If I hit upon a theme-tune for a plot or its characters, I know I have a secret entrance into the book, and although the album or song itself may never appear on the page, you can guarantee I’ve listened to it hundreds of times when writing certain scenes. One of my novels was written whilst listening to Damien Rice almost non-stop, another to Alison Krauss – and when a romantic hero who always made me think of Christy Moore’s Ride On featured in a sequel 10 years after his first appearance, I only had to listen to the song to find him coming to life again. Although many of these songs get honourable mentions in the books, only the very special few are performed by me and my characters; You Can’t Judge A Book By Its Cover is still being sung loudly in Worcestershire.
Fiona Walker became a best-selling novelist in her 20s and her books have sold over two million copies worldwide to date. Dubbed ‘The Jilly Cooper of the Cosmo generation’ she is renowned for her large casts, addictive plots and sharp wit. She lives in rural Worcestershire with her partner Sam who is a dressage trainer and their two daughters. Her twelfth novel, The Love Letter, is published by Sphere.Find her on her blog and on Twitter @FionaWalkeruk
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- 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 2011-2020. 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'