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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 journalist and award-winning debut novelist Terri Giuliano Long @TGLong
Dave and I are in the car on our way home from dinner. He puts a Bruce Springsteen CD in the player, Greetings From Asbury Park. The song Growin’ Up strikes a nerve, and I ask him to hit replay. I listen to the song over and over. The song is still playing when we pull into the driveway 30 minutes later. In this song, I see Leah – a 16-year-old girl, pushing boundaries, horrifying the adults all around her. She’s just a kid, flying high, full of imagination and life, yearning for independence, trying to make her way in the world.
Dave and I have four daughters. As I’m writing the novel, they’re all teens, and I see Leah from a mother’s perspective. I love her, but she frightens me. This song opens a door, shows me another side of her. I see tremendous energy and vulnerability so deep and true that it brings tears to my eyes. I try to integrate this new understanding into her scenes, but it’s not until late in the novel, after she’s run away from home, that it pays off.
When I wrote In Leah’s Wake, songs—like Van Morrison’s Tupelo Honey, Robbie Robertson’s Showdown at Big Sky and Tom Petty’s Face in the Crowd provided the emotional connection I needed to define certain scenes. The novel opens with Leah’s parents, Zoe and Will, playing poker—a metaphor I didn’t notice until the second draft, when I realized how much parenting teens resembles a poker game. Tupelo Honey spins on the player. After a spat, Will leaves the table and replaces the sweet love song with Zoe’s favorite song, Showdown at Big Sky. That night, alone, waiting for Leah, he listens to A Face In The Crowd, a haunting song that speaks to his profound loneliness, as he sits by the window, imagining the unthinkable horror that may have befallen his child.
Often, the instrumentals, the sound, the tone—the emotional energy—of a song put me into the scene. Paranoid Android, from Okay Computer by Radiohead, I’m On Fire, by Bruce Springsteen’s Born in the USA, Stardog Champion, from Stardog Champion by Mother Love Bone, I Loves You Porgy from Porgy and Bess, by Keith Jarrett on the CD The Melody At Night With You, and Misguided Angel from The Trinity Session by the Cowboy Junkies—all set an emotional stage for a scene I was working on.
In the lyric
Occasionally, the lyrics spoke to me, as was the case with Madonna’s Don’t Cry For Me Argentina, from the film Evita, released in 1996, a few years before I began In Leah’s Wake. Early in the book, Zoe is in the car, on her way home from work. She’s thinking about Leah, all the changes that have occurred of late. Leah’s behavior drives her out of her mind. She also feels guilty, selfish for putting her own needs and desires ahead of her family. ‘I love you,’ Madonna sings, echoing Zoe’s feelings. ‘And I hope you love me.’
The best writing moments occurred when – as with Growin’ Up – a song moved me emotionally and its lyrics gave me insight. Our house at the time was wired for sound. One morning, when I stepped out of the shower, Oasis’s Champagne Supernova from What’s the Story? Morning Glory, was playing. I was working on a pivotal scene: Leah’s 12-year-old sister, Justine, asks for a cigarette and Leah, hesitant at first, sees her sister as her equal for the first time and allows her to smoke. The song’s textured ethereal feel, for me, mirrored Leah’s state of mind. The lyrics, about getting high, people changing, felt right. The metaphor gave me psychological clarity, a window into Leah’s heart.
As I progressed through draft after draft, music, which had initially inspired me, took on a defining role in the book. Scenes where the characters were listening to music began to different feel from scenes that were virtually silent, except for the dialogue. To me, those silent scenes feel stark, and emotionally raw. Maybe that’s why they so often end with an argument or a crucial event that, to one of the characters, represents catastrophic change.
Without music, In Leah’s Wake would be a very different book. How do you identify with music? When you read a book, do you relate to songs or find them a distraction?
Terri Giuliano Long is a contributing writer for IndieReader and Her Circle eZine. She has written news and feature articles for numerous publications, including the Boston Globe and the Huffington Post. She lives with her family on the East Coast and teaches at Boston College. In Leah’s Wake is her debut novel, winner of the Coffee Time Reviewer Recommend Award, the Book Bundlz 2011 Book Pick, the Book Bundlz Book Club Favorite, 2012 – First Place and nominated for the Global eBook award. For more information, find her on her website. Or connect on Facebook, Twitter or Blog.
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My guest this week was stopped in her tracks one evening by a Springsteen song, which became a young girl pushing boundaries, which became a finely drawn portrait of a family in turmoil. Other songs came to define pivotal moments – and the novel itself went on to win awards. That novel is In Leah’s Wake, the author is Terri Giuliano Long – and she’ll be here to talk about its Undercover Soundtrack on Wednesday.
- 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 2011-2021. 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'