Posts Tagged inspired by musicians
The Undercover Soundtrack is a series where 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 debut novelist Leslie Welch @Leslie_Welch
Soundtrack by Dave Bielanko, Christine Smith, Chris Rattie, Gus Smith, Snow Patrol, Coldplay, The Temper Trap, Green Day, Red Hot Chili Peppers, Kanye West, Imagine Dragons
‘We’re recording these old songs at a church in Millheim. You should stop by.’
Intrigued by the invitation, my husband and I made the 22-mile drive from our hotel in State College to the post-industrial town. Back then, Millheim was growing into the unlikely heart of a serious music scene in Central Pennsylvania. That visit would eventually work its way into a novel I didn’t know I was going to write.
Dave Bielanko and Christine Smith (of Marah fame) had enlisted our friend Chris Rattie to play drums on Mountain Minstrelsy—a collection of old mountain songs they had resurrected with new music. Given the people involved, I expected the session to be different, but we walked into an all-out revolt against modern recording. Recording based on intuition instead of algorithms. My internal monologue alternated between, ‘This is so freaking cool’ and ‘How can this possibly work?’
A tangle of cords, amps, and a giant mixing board crowded the back of the sanctuary where greeters used to welcome people to worship. Mics were set up wherever there was good, natural reverb. Not a computer in sight.
Two towheaded boys chased each other through the pews in loops around us as we checked out the set-up.
‘Who are the kids?’ I asked.
‘The taller one is our fiddle player,’ Chris said. ‘Hey, Gus! Come over and play something.’
Eight-year-old Gus scooped up his fiddle and ripped out a quick melody that sucked me into a serious religious moment. The kind of experience that makes you doubt you could ever be good at anything in your life. That’s what happens when you experience a prodigy in person. Here’s Gus Smith.
Gus, undoubtedly used to these impromptu performances, gave us a look that asked if that was enough of a demo. Before our claps faded into the narthex, he was back to the business of chasing his brother around the church.
While the idea for my novel The Goodbyes wouldn’t come for a few months, I collected plenty of inspiration at that session. Fast forward to November of 2014.
Searching for a Soundtrack
With an idea begging for a blank document and a NaNoWriMo deadline, I sat down to write. Since the story was about Webb Turner, a rock star who races through a blizzard to possibly say a final ‘goodbye’ to the girl who inspired his songs, I packed my writing playlist with songs I thought Webb might write. Snow Patrol, Coldplay, and The Temper Trap dominated the two-hour loop. But when I pressed ‘play’, I found myself skipping each track after a few seconds.
I switched over to my music library, hoping the universe would step in. Song after song, nothing kept me writing for more than a sentence until I skipped my way to the one thing I would have never chosen—Tibetan Monks chanting. Yes, really. I didn’t care what it was, it shifted me into the zone. I tapped out a chapter or two on the train ride home.
When I wasn’t writing, I listened to popular music from the 90s and early 2000s. Green Day, Red Hot Chili Peppers, even Kanye West and Nickelback transported me back to the spirit of that time. These songs play in the background of a lot of scenes in the book. They’re important to the characters, too.
I finished the first draft in a month. Once I had let it rest for a few weeks, I started the slow and painful process of editing. It wasn’t long before I realised that I needed more than ‘Oms’ to paint the flesh onto the bones of the story. My filmmaker husband suggested listening to movie soundtracks for some momentum. I quickly discovered that these epic melodies, swelling and crashing without apology, are gold for writers who want to add drama to key scenes. The Great Expectations soundtrack hit an especially sweet spot for me.
When it comes to creating a writing playlist, what works for one book might not work for the next. My current manuscript likes The Lightning Strike by Snow Patrol and Radioactive by Imagine Dragons. It’s a nice change, but in the end, the most important thing is finding anything that inspires me to keep moving until I can punch out the two best words in a writer’s journey: The End.
Born in Toledo, Ohio, and raised in the North Hills of Pittsburgh, Leslie Welch spent most of her youth concocting elaborate stories. Her high school English teacher encouraged her to turn these creative lies into creative fiction. Today, Leslie writes at least 1000 words a day on DC Metro orange line trains. She co-wrote her first book in Harrisburg hotel rooms and diners with her best friend, and in 2016 she released her first solo novel, The Goodbyes, published by Blue Moon. When she’s not off exploring the world, Leslie lives in a house full of laughter outside of Washington, DC, with her soulmate, two cats, two dogs, two fish, and a teenager. Find her website here and tweet her as @Leslie_Welch
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 Myfanwy Collins @MyfanwyCollins
Soundtrack by Jessica Lea Mayfield
Before she was fully formed on the page, I knew who I wanted Laney to be. She would be 15, tall and gangly, with a face that would not seem immediately beautiful to the young world but an astute adult would know how she would bloom fiercely and beautifully one day. Laney would not be an obvious intellectual, but she would think long and hard in an emotional way. People would often say to her, ‘You think too much’, a sentence she would find curious and staggeringly ridiculous. Yes, she does think a lot but what’s wrong with thinking? It’s safer to live in your head than it is to live out in the world anyway. Laney knows that more than anyone. After all, she has just lost everything. Her home. Her brother. Her mother. And her sense of self.
And yet, she carries on and continues to seek connections in all things and to try to not only understand her own miserable situation but that of the human condition at large. In short, I wanted her to be a young woman like Jessica Lea Mayfield. Deep, thoughtful, emotionally advanced, quirkily beautiful. Strong but not in a way that is obvious. Rather, I wanted her to have a quiet, poignant strength born from sadness, from desire, and, ultimately, from her ability to empathise.
Mayfield embodies all of these qualities in her voice and also within the songs she writes. And the more I listened to her music, the more Laney became the sort of young woman Mayfield is. The first time I knew of Mayfield was when I listened to the Avett Brothers cover her song For Today. Like so many of her songs, this is a song of contradiction. A song about a romantic relationship in which the singer pretends she does not love this person. Maybe she feels like she is a relationship fuck-up or that the other person is or that they both are. Maybe she believes she doesn’t deserve love or that her beloved’s love is false. Regardless, she pushes this love away, eventually, because she says it has stifled her. She will accept it, though, in this one moment. She will accept it for this day.
In this song, as in so many of Mayfield’s songs, there is a keen understanding for romantic love—an understanding beyond her years (she recorded her first album, White Lies, when she was 15) and, frankly, beyond the understanding that many middle-aged people (including me) are able to access. She witnesses the world in a way that is both stunningly youthful and staggeringly aged. Like Laney, Mayfield’s eyes are wide open and innocent, but her heart has seen some serious shit and she is on this earth to share her knowledge.
It wasn’t until I saw a video of Mayfield singing an acoustic version of a new song in the kitchen of Seth Avett, that I truly saw Laney. The song, Seein* Starz, is about an overwhelming, impossible love. This is not unlike the love that Laney has for Marshall. There is something about the strength of Mayfield’s voice in the acoustic, kitchen, version and how it is unmarred by the shaky, nearly fragile quality it also possesses. It is that tenderness she exhibits, the raw woundedness of her song and singing that struck me as so akin to who I wanted Laney to be. Like Mayfield, I wanted Laney to send her voice out into the world with vulnerability and strength. Qualities that should be antithetical but which, I believe, are actually able to exist within the same person at once.
Mayfield’s voice and her songs, then, are all about containing and managing contradiction. Just as Laney is all about protecting her heart while at the same time learning how to open up to love and face her fears. Learning that even though she feels entirely weak, she is actually fully undaunted. Like Mayfield pushing back out into the waters of love again and again despite the possibility for pain, Laney pushes forward, paddling her canoe into an uncertain future. Fearless.
Myfanwy Collins is the author of three books—a collection of short fiction, a novel, and her latest, a young adult novel, The Book of Laney, published by Lacewing Books. Her work has been published in The Kenyon Review, AGNI, Cream City Review, Quick Fiction, and Potomac Review. Echolocation, her debut novel,was published by Engine Books in March 2012. A collection of her short fiction, I am Holding Your Hand, was published by PANK Little Books in August 2012. Her website is here, her blog is here, you can connect with her on Facebook, Twitter (@MyfanwyCollins), Tumblr, Instagram, Goodreads and Google+.