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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 editor, journalist and crime novelist JJ Marsh @JJMarsh1
Music, along with artworks, act as ambient markers when I’m writing. I need silence to write, but return continually to certain images and tracks to remind me of my original intention. When I start a book, I know what mood I’m setting out to express. But while concentrating on the myriad elements of construction, the mood can get lost or forgotten. I also use music and art references to convey my concepts to the cover designer/artist. So these notes on music provide me with a trail to follow if I get lost.
Octave One’s Bout to Blow buzzed around my brain for a long time. I planned a screenplay – Cognoscenti – furious morality overlaid by cynical pragmatism. The Wire meets Wall Street. Turns out it wasn’t a screenplay at all. It was Behind Closed Doors, my first European crime novel about corporate greed and rough justice.
I spent hours listening to Schubert while researching, and shared this fact with my paperback cover artist, James Lane. He used the second movement of Death and the Maiden to underscore the video he made of creating the oil painting.
Several characters in the book owe much to InGrid’s Tu es foutu. But this track represents the voice of the character who doesn’t have one.
Departures always a carry an emotional charge for me, and Taxi’s Campari Soda, with all its sense of loss, longing, change and optimism is that missing chapter between 37 and 38.
I can’t find the book, but when I was a teen, I read a story about a child in the Scilly Isles seeing something she shouldn’t. The first three minutes of Biosphere’s The Things I Tell You triggered that memory and provoked the opening chapters of Raw Material. (If anyone can tell me the title of that book, I will send you a box of Kirschstengeli).
Broken atmospheres and clashes of sensations create an awkward, yet appealing kind of tension. There are two key plotlines in this book, and when returning to the subways of Finsbury Park, I listened to Photek’s Hidden Camera to remind me of the tone of the predator: something unresolved, compulsive and endless.
In the final edits, I listened to the first three minutes of Jan Garberek’s Twelve Moons, to harmonise the overall feeling. Garbarek can tell stories, and this one contains a certain damaged purity. It also led me to the final title.
With Tread Softly I wanted to echo the atmosphere of Federico Garcia Lorca’s plays. That combination of passion and tragedy and pride. Pedro Abrunhosa’s Tudo o que eu te dou was my tonal base line. There’s a painful tension in his voice, a love song as lament.
I had real problems nailing my villain. He needed to be cultured and sophisticated but capable of the worst cruelty. Then I heard Tree, by Aphex Twin. The scariest kind of psychopathy. Insanity on a leash. Enter Arturo de Aguirre.
One of the subplots contains an inevitable emotional car crash. A half-remembered song expressed that sense of time running out, so I spent ages trying to find it. When I did, it was so perfect, it gave me the shivers. Vaya Con Dios – Heading for a Fall. And I fell in love with Dani Klein’s voice all over again
Jill grew up in Wales, Africa and the Middle East, where her curiosity for culture took root and triggered an urge to write. She has worked as an actor, teacher, director, editor, journalist and cultural trainer all over Europe. Now based in Switzerland, Jill is a founder member of author collective Triskele Books, part of the Nuance Words project and a regular columnist for Words with JAM magazine. She lives with her husband and three dogs, and in an attic overlooking a cemetery, she writes. Her novels are Behind Closed Doors, Raw Material and Tread Softly. Find Jill’s detective character Beatrice Stubbs on Facebook, or find Jill’s Amazon page, or connect with her on Twitter @JJmarsh1.
GIVEAWAY You could win a copy of one of Jill’s novels if you comment here – extra entries if you tweet or otherwise share the post. Don’t forget to let me know if you have shared on other networks and how many there are. AND don’t forget those Kirschstengeli. That book is in somebody’s reading backlist somewhere…
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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is multi-award-winning children’s fantasy author Susan Price @priceclan
Soundtrack by Pavel Chesnokov, the Cantus Sacred Music Ensemble, The Orthodox Singers’ Male Choir, June Tabor, Steeleye Span, Orlando Gibbons, the King’s Singers, Pierrot Lunaire, Jan Garbarek, Jan Garbarek and the Hilliard Ensemble, Tim Wong, Benjamin Britten
Music doesn’t help me understand my characters, or set the mood for a particular scene. I don’t need, for instance, martial music to write a martial scene. Instead, for me, the music seems to set the atmosphere, or time-frame, of the whole book. I can’t write a scene set in the past to poppy dance-music, because the music insistently reminds me of my own time and drags me back to it. I find it equally hard to write contemporary scenes while listening to music from the past. If Mozart is playing, my characters shrug off their jeans and trainers and slip into knee-britches and powdered wigs.
My Ghost World sequence (Ghost Drum, Ghost Song and Ghost Dance) is set in a fantasy Czarist Russia. I wanted these books to be fantastical, frightening and beautiful, with the brilliant jewel colours of Russian folk-art set against intense darkness and cold. While writing them I surrounded myself with postcards of Russian art, and played chants like this one on repeat.
The beautiful swaying voices, with their deep, dark bass notes took me into the vast, dark pine forests of Russian folk-tale, to Northern darkness and cold. Listening again, as I write this blog, I feel the visceral thrill and shiver this music always gives me.
The music and art served the same purpose: bringing together and concentrating all my disparate imaginings. Looking at a Bilibin forest, listening to an Orthodox chant, I was there, in my imagination’s world. This piece, with the Basso Profundo, sounds like the Russian Bear singing.
Past, present and Borders
It is always time and place with me. My Sterkarm novels have scenes set both in the past and in the 21st Century, but the heart of the novels, for me, were the scenes in the 16th century Scottish borders. I read about the reivers and their way of life, I visited the Borders, but to bring it all together and put me there, I played Border Ballads, which I’ve loved since a teenager. Here’s the wonderful June Tabor with her thrilling Clerk Sanders. The final, long-drawn note always raises my hair. It rings like a glass. It’s all there – love, hatred, jealousy, horror, revenge.
I listened to Steeleye Span a lot too. Even though they used electric instruments, I always felt they captured the spirit of many of these old songs better than many who tried too hard to be strictly traditional. Here’s their Wife of Usher’s Well, a tale of life, death, ghosts and maternal love.
Hits of the 16th
I wrote Christopher Uptake, set in the 16th century, to the smash hits of Christopher’s day, such as The Silver Swan, sung here by the King’s Singers. (And its closing couplet, ‘More geese than swans now live, more fools than wise,’ seems appropriate for Christopher too.)
Poor old Keats reviewed plays in order to get a free pass to theatres so he could hear the playing of professional musicians. We’re spoiled today – we can hear excellent musicians any time we casually turn on the radio. Not only musicians of our own day either, but those long dead, and music played in the style of centuries past.
The far future
But what to play when writing something set in the far future, such as my Odin’s Voice trilogy? I found myself seeking out music that, to me, sounded strange and futuristic, and helped me expand my ideas to include all the weird and wonderful possibilities of nano-technology and space-elevators. More musically educated people might find my choices rather old-fashioned, but they worked for me.
First is Moonstruck Pieirrot, or Pierrot Lunaire. ‘What the hell did I just listen to?’ asks a YouTube commentator. I can’t say that I love it, but it’s extraordinary. I remember first hearing it. I was vacuuming during the early hours, while half-listening to the Open University’s educational programmes. This began, and I switched off the vacumn to hear it. I remained on one leg, spellbound, throughout. Didn’t like it, exactly, but couldn’t stop listening.
I am fonder of this by Jan Gabarek and the Hilliard Ensemble. I find it chill, eerie, beautiful and strange – but instead of evoking deep, dark forests, it evokes, for me, the vast dark emptiness of space and the future, where who knows what might be possible? Oberon’s song from Britten’s Midsummer’s Night Dream has the same effect on me. It may have been written in the 20th century, as Britten’s response to Shakespeare’s 16th century play, but its eerie otherworldliness, for me, suggests space – perhaps the music of the spheres?
In 1973, Susan Price‘s father signed a contract with Faber for her first book, The Devil’s Piper. She was under-age, at 16, and couldn’t legally sign it herself. She has earned her living by writing and lecturing ever since. Her best known books are The Ghost Drum, which won the Carnegie Medal, and is available as an e-book, and The Sterkarm Handshake, which won the Guardian prize. She has a blog and is also a founder member of the group Do Authors Dream of Electric Books (aka Authors Electric), and she tweets as @priceclan.
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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 2011-2018. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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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'