Posts Tagged how to write a novel
My guest this week describes music as ‘a portable environment’. His work patterns have taken him all over the world and he might find himself writing anywhere from a station waiting room to a hotel lobby or a scorching beach. No matter where he finds himself, the music will put him back where he left off. Perhaps unsurprisingly, his novels explore people who are lost, displaced or caught between cultures and he finds their soundtracks in the work of contemporary classical composers (including one of my own favourites, Olafur Arnalds). He is Toni Davidson and he’ll be here on Wednesday.
My guest this week has set herself the task of reimagining the Trojan War and she says she couldn’t have done it without music. Her soundtrack has a stirring, epic scale with storming emotional keys, from Florence + the Machine to Thomas Tallis. More intimate pieces by Amanda McBroom and Esthero illuminated the interior lives of her Cressida (renamed Syd) and Cassandra (Cas). She is also a much-decorated writer of short stories and the editor of two cultural journals, Easy Street and The Lascaux Review. Drop by tomorrow for the Undercover Soundtrack of Camille Griep.
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 guest is Huffington Post blogger and satirical thriller author Naomi Elana Zener @satiricalmama
Soundtrack by Vivaldi, Rolling Stones, Eagles, Chumbawumba, AC/DC, Guns N Roses, Bob Marley, Starship, Rick Astley, Grieg, Sarah Bareilles
Her career is circling the drain. Her almost marital apartment is empty. The fiancé is Decamped Dude, off on a lovers’ jaunt with his best man. And, Joely is alone tracking the remnants of her life as though the shark from Jaws is following her every move ready to engulf what’s left of her in one fell swoop.
Music is to my writing as oxygen is to my breathing. One cannot exist without the other. Certainly, there are moments of silence, but generally when I write anything, including Deathbed Dimes, often the staccato sounds emanating from the dancing keyboard punctuates Vivaldi’s Four Seasons playing on a loop, as I build the world and characters with whom I live inside my head until they find their way onto the page.
Having grown up in a classical music and opera loving household, and being a lawyer by day, writing with the melodic sounds of the piano, violin, wind and other string instruments wafting through the air was symbiotic to my process of creating the law firm world — quite a WASPy one in fact—in which Joely toiled day and night during her grueling 80-hour work weeks. It was when her world fell apart cataclysmically that the soundtrack of her life and mine changed. Gone were the soothing tones.
Joely is a character trying to find a way to happiness, which for her is defined by career success, a romantic marriage, and wonderful friendships. Having been jilted at the altar, looked over for partnership at her law firm, and displaced geographically from her two best friends, Ethan Berg and Coco Hirohito — her surrogate family to replace the one she knows she has to return to in Los Angeles—who are both on the West Coast, Joely is staring eye-to-eye with the nadir of her life. To accompany her downward emotional spiral, my writing was dispatched to the tune of You Can’t Always Get What You Want (Rolling Stones) and carried through on the wings of thematically similar music, most notably The Eagles’ Hotel California. When I write, I tend to listen to certain songs on repeat. I’m an extremely focused person—the antithesis of having ADD—such that when I’m concentrating on or writing something, my laser-like tunnel vision works best listening to the music that evokes the creative spirit from within.
To return my heroine to that from whence she came: Beverly Hills, to live with her Oscar-winning aging screen siren mother, Sylvia, and her D-list philandering director father, Armand, I had to fill my head with fight music. To don her war paint and gear up for battle—more like war since her parents’ selfish desires for their daughter have little to do with what Joely wants for herself—I listened to a cacophony of sounds, including the theme song from Rocky Balboa, Chumbawamba’s I Get Knocked Down (Tubthumping), AC/DC’s Back in Black, and Guns N Roses’ Welcome to the Jungle. Down, but not out, Joely was able to hop drunkedly on her return flight to Los Angeles for the fight of her life.
Joely’s reunion with her respective chosen and birth families, her return to the practice of law on her own terms, and her quest for personal fulfillment was written to a musical mish mash. The emotional roller coaster ride of having her heart pulled in three directions—the fiancé who left her, the married mentor, and her best friend for whose love she’s willfully blind—was written to a myriad of tonalities, ranging from Bob Marley’s Three Little Birds, to Starship’s Nothing’s Gonna Stop Us, and to Rick Astley’s Never Gonna Give You Up — yes, I’m a child of the 80s—but to name a few. The legal warpath was written to the echoed sounds of the battle songs I listened to in order to prepare Joely for her return to Los Angeles. Brief moments of serenity were hallmarked by my return to listening to classical music, with Edvard Grieg’s Morning marking a quintessential awakening for Joely.
In the end, the moment in which Joely and I jointly discovered that we would find a way for her to ‘have it all’—career, love, marriage, success—the song playing on the radio by happenstance was Sarah Bareilles’s Love Song. Both mine and Joely’s heads were proverbially ‘under water’ prior to that moment — I was unsure whether it would be realistic for a woman to have it all, as I was struggling with a similar shared female experience in my own life. When Bareilles’ song blared through my radio, and eventually through that of Joely’s car stereo as she drove along the PCH highway in Los Angeles, it underscored the revelatory moment for when I realised how Joely’s story would end. Or, rather begin again.
Naomi Elana Zener is the author of both Deathbed Dimes and satire fiction, which is posted on her blog Satirical Mama. Her vociferous blogging has been read and appreciated by industry bigwigs such as Giller Prize winner Dr Vincent Lam and New York Times best-selling author and journalist Paula Froelich. Naomi blogs for Huffington Post and her articles have been published by Kveller, Absrd Comedy, and Erica Ehm’s Yummy Mummy Club. She’s currently working on her sophomore novel. You can connect with her on her website or on Twitter @satiricalmama.
My guest this week might be a surprising addition to the Undercover Soundtrack series as she has impaired hearing. Nevertheless, music is important to her, both as a writing environment and to help her slip into the shoes of her characters. Some of her novel’s people also have impaired hearing, which is an interesting creative choice – what they miss in aural terms, they make up for in what they understand and observe. My author is also a creative writing tutor at Tennessee University and a regular contributor to literary magazines, so I’m delighted she’s guesting here with her first novel. She is Tawnysha Greene and you’ll find her here on Wednesday with her Undercover Soundtrack.
If you’re friends with me on Facebook you’ve probably just seen the post where I remarked how every guest on this series seems to end up writing the following phrase in their emails to me: ‘reliving the heady drafting times’. That’s what this series is all about; the joy of discovery, the celebration that we can create a story out of impressions, hopes and dreams. My guest this week is no exception. She describes her two novels and how they were shaped by songs that challenged and changed her intentions for the stories. These songs suggested new time periods, characters and locations, and key story events. But most of all, she says that music makes her reach and search; hence the heading of this week’s post. She is Rebecca Mascull and she’ll be here on Wednesday with her Undercover Soundtrack.
This week’s Undercover Soundtrack is so raw and honest. Although all great books are personal journeys for the writer as well as the reader, this one has a truly traumatic back story. The writer lost a dear friend while he was drafting it, and his soundtrack is as much a journey of grief and recovery as it is the story of the novel’s making. He is award-winning books columnist and writer Jim Ruland, and he’ll be here on Wednesday.