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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’s post is by US National Book Award winner William Alexander @williealex
Both of my novels, Goblin Secrets and Ghoulish Song, are set in the same city and unfold at the very same time. They also share a soundtrack. The first is about a goblin theatre troupe. The second is about a girl who loses her shadow and becomes a musician.
First let me tell you a bit about this shared setting. Zombay is a playfully broken place, its pieces repurposed and cobbled together. The noise of and voice of this city clanks and clamors. One single bridge — the Fiddleway — connects two halves of the city (barely), and various musicians play at all hours to keep that bridge from falling over.
Luce Strumgut the sailor explains how and why in Ghoulish Song:
“You can shape music to reshape the world, just as words do in charms and curses. Sailors learned that first.” Luce proudly tapped the tip of her nose with one finger. “We sang chanties to the rhythm of oar and hoisted sail. It’s madness to trust your own weight to a bit of bark adrift on water. It’s only ever possible to face up to that madness with a song. So we made the music necessary to hold a barge together—or a bridge. The madness of the bridge, of walking and living and building whole houses high above the River, is only possible with many songs. You can hold anything together with the proper tune—or you can tear it apart.”
Two albums in particular helped me map out my city and hold it together.
First I used Real Gone by Tom Waits. I often started a writing session with Hoist that Rag. It’s a working song, a sailor’s song, and it has an urgency and a clanking, jangling rhythm that I found especially useful.
Once Tom forced me awake and growled at me until I started working the album would fade into background noise. That’s no criticism of its quality. All of Real Gone rewards close listening, but the songs didn’t seem to mind humming and muttering between themselves while I mostly ignored them and went about my writing business. There’s one track I couldn’t ever ignore, though: How’s it gonna end? Every time it came up I would write faster. Tom needed to know the ending, and so did I.
Lyrics can be distracting, though, and the stories told and hinted at in the rest of How’s it Gonna End don’t really match up with the stories I was working on. The other album I had set to endless repeat was Zoe Keating’s Into the Trees—an absolutely gorgeous album, played by a single cellist looping and accompanying herself. Keating composes ideal soundtracks for dark fairy tales. You can stream the tracks from her site, but pay particular attention to Optimist.
Take a moment to imagine both Tom Waits and Zoe Keating guest-starring on The Muppet Show. That sense of unsettling playfulness is pretty much what I was aiming for. If I hit the mark, then I owe it to those two musicians.
William Alexander won the US National Book Award for his first novel, Goblin Secrets, and the Earphones award for his narration of the audiobook. His second novel, Ghoulish Song, just came out. He read the audiobook for that, too. Will studied theatre and folklore at Oberlin College, English at the University of Vermont, and creative writing at the Clarion Workshop. He lives in the Twin Cities, right in the middle of the States. Find him online at goblinsecrets.com and on Twitter under @williealex.
Brief hiatus: The Undercover Soundtrack is taking a short break and will be back in two weeks’ time on 13 November. See you then!
authors, cello, classical, Desert Island Discs, drama, Earphones award, entertainment, fantasy, Ghoulish, Ghoulish Song, ghouls, Goblin Secrets, goblins, Halloween, male writers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, soundtrack, The Undercover Soundtrack, Tom Waits, undercover soundtrack, US National Book Award, William Alexander, writers, writing, writing to music, Zoe Keating
- 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.
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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
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- All content copyright Roz Morris 2011-2022. 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'
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