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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 supernatural historical thriller writer Gwendolyn Womack @Gwen_Womack
Soundtrack by Phil Thornton, Gerald Jay Markoe, Dead Can Dance, Lana Ross, Caryl James Thompson, Mikael Sapin, Nigel Stanford, James Hood
Music is a wonderful companion while writing. I’ve often found writing to the right song can help deepen a scene, kick start the solution to a problem, or spawn a new idea. Sometimes before I sit down to write, I’ll search for over an hour sampling songs on iTunes, YouTube and the internet to find what I’m looking for. I don’t even know what that is until I’ve heard it. All I know is it has to be the perfect song to evoke the emotional state I’m trying to capture. Does it conjure a specific time or place? create a doorway to a culture? help foster the emotions I want my character to be feeling? —or me to feel as I write? The reason for the song constantly changes.
Once I find the perfect song, sometimes I’ll loop it for days while I’m writing. Looping helps to create a flow so there is no interruption in my train of thought. I’ve also found in general the music needs to be instrumental, otherwise the lyrics become a distraction.
Knowing I would want to share my playlist for my second novel, I kept close track of the songs. The Fortune Teller is a romantic thriller that revolves around an ancient manuscript and the world’s first Tarot cards. The novel alternates between present day and the manuscript’s story, which is both a memoir and a prophecy spanning 2000 years. Because the memoir journeys to different lands and lifetimes as it moves forward in time, the music I chose to listen to changed dramatically as well. When I finished the novel the entire playlist was quite extensive, but I’d like to highlight the songs and albums that were a driving force while I wrote.
For the memoir, which begins in Alexandria, Egypt, I listened to the album Pharaoh by Phil Thornton, which evoked the perfect setting. As I wrote scenes taking place in the secret vaults of the great Library of Alexandria I looped this song: Meditation Music of Ancient Egypt by Gerald Jay Markoe. The song felt like a time machine taking me to those underground chambers.
During the memoir chapters I also wrote a lot to Dead Can Dance, one of my favorite groups. The memoir was written by an ancient seer and she conjures her own magic and mystery as she tells her story. I found Dead Can Dance perfectly tapped into that world. I listened to the album Toward The Within and favored tracks #2 – Persian Love Song, #4 Yulunga, #5 Piece for Solo Flute, and #14 Sanvean for weeks as I wrote her memoir on seeing the future.
I’ve also found film soundtracks can be a wonderful resource to find the perfect instrumental song. A prime example is in the memoir when the story reached Milan in the 1400s, I listened to specific tracks from the soundtrack to Dangerous Beauty. Although the film takes place in 16th-century Venice, the music still helped strike the setting in my mind for that chapter.
When the memoir moved to the Russian Revolution and then onto World War II, I was playing Lana Ross nonstop. Lana Ross was a lucky find on one of my internet hunts. She is a guitar soloist who has an album of Jewish folk music that is exquisite. I also listened to this theme song repeatedly from the documentary The Lady In Number 6, played by Caryl James Thompson. The poignancy of this song just swept me away and captured an essence I was looking for while trying to write about the war. I highly recommend watching the documentary too. It follows the story of the world’s oldest pianist and Holocaust survivor.
For the present day storyline of Semele Cavnow, who is attempting to unravel the mystery behind the ancient manuscript, there were three key albums I listened to: Far Away by Mikael Sapin, Solar Echoes by Nigel Stanford, and Pure Ceremony by James Wood.
Far Away is some of the most heartrending piano music I’ve ever heard and I remember looping it on a long plane ride I took and writing several scenes for Semele. After that I just kept going back to the music for her. There was an emotional aspect that it captured—a sadness, a longing.
For Solar Echoes, I remember my favorite track being Dark Sun, though I am a super fan of Nigel’s and all his songs. But Dark Sun captured the energy of Semele’s quest. The story is ultimately a thriller and Semele is on a journey to find answers, and this song has a driving quality. I listened to it a lot as I wrote the last chapters with Semele traveling across Europe.
And the third album, Pure Ceremony by James Hood, is phenomenal singing drum music. My favorite track was Timebomb which I looped too many times to count as the story’s supernatural elements came to the fore. There is some bending of time in the novel and Timebomb was the song I wrote the majority of those scenes to. (I also thought the title of the song could not have been more appropriate.)
Those are the main pieces to the musical puzzle that helped shaped The Fortune Teller. It’s quite wonderful to look back on the playlist and remember what I wrote to the songs. If I could send each artist a Book Valentine I would.
Gwendolyn Womack writes romantic thrillers that explore a spectrum of metaphysical subjects. Her debut novel, The Memory Painter, published by Macmillan/ Picador, was an RWA Prism Award winner and Indie Next Pick. Her second novel is The Fortune Teller. Gwendolyn lives in LA and paints as a hobby. Find out more at her website and watch The Fortune Teller and The Memory Painter book trailers on YouTube. Tweet her as @Gwen_Womack
ancient Egypt, Caryl James Thompson, Dead Can Dance, dual timeline, Gerald Jay Markoe, Gwendolyn Womack, James Hood, Lana Ross, metaphysical fiction, Mikael Sapin, Nigel Stanford, Phil Thornton, romantic thriller, supernatural thriller, Tarot, The Fortune Teller, thriller, undercover soundtrack, writers and music, writing with music
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 my guest is spiritual fantasy author Laura K. Cowan @laurakcowan
Soundtrack provided by Eduards Grieznis, Brahms
When I first played the Brahms Intermezzi Opus 117 on the piano, I felt a sadness I couldn’t explain. My music teachers at the Interlochen Center for the Arts where I studied each summer in high school told me the first intermezzo was a lullaby, sung by a woman to her child after being abandoned by the father. It spoke to me in a way I couldn’t explain, the sadness of the abandonment, the beauty of the piece. I never forgot it. When I quit classical piano performance to return to my secret first love of writing in college, I thought music was over for me. I moved into a phase of my life in which I didn’t know how to reach my dream of being a writer, nor could I go back to the music. I was desperately unhappy, chronically ill even.
Fast forward 10 years, and I was doing it. I had faced the fear and rebuilt myself emotionally, even gone through treatment for childhood trauma that had tied me up in the first place. And then, the intermezzo returned. I was writing a novel called Lone Cypress about a former ballerina named Shana who was running from an abusive marriage and experiencing nightmares and blackouts while trying to figure out if she was possessed. Guess what I found in my research of relevant ballets for her to have performed? The Brahms. The second intermezzo, not the first, but that first lullaby began to weave itself through my story, through my character’s mind. She had been abandoned by her father. And her mother. And her husband. And herself. And the music became not just my soundtrack for this novel but Shana’s own, for a new ballet she wanted to choreograph but couldn’t until she faced her fear.
It’s not uncommon for me to compose short themes on the piano to help me understand the right moods for different pieces of my novels, an undercover soundtrack in its own right, but Lone Cypress is unique in that the music that inspired the story not only helped me with its creation but wove itself through the entire book. With Lone Cypress I learned how to walk away from my own past and into the present. The book will be out in July, and I can already feel a piece of my younger self is putting itself to rest with its publication. That’s what the Brahms is to me: the meeting of the past and present in a resolution more beautiful than I could have written for myself. Through writing this novel with the lullaby woven through it, the Brahms (played here by Eduards Grieznis) finally taught me that the most important thing is to find our way back to ourselves.
Laura K. Cowan writes imaginative stories that explore the connections between the spiritual and natural worlds. Her other novels are The Little Seer and Music of Sacred Lakes, and her first short story collection is The Thin Places: Supernatural Tales of the Unseen.Find her on Facebook and on Twitter as @LauraKCowan
authors, ballet dancer, Brahms, Childhood piano lessons, Christian suspense, classical pianists, contemporary fiction, Desert Island Discs, drama, Eduards Grieznis, entertainment, grief, Interlochen Center for the Arts, intermezzo, Laura K Cowan, Lone Cypress, lullaby, Metaphysical Fantasy, metaphysical fiction, music, music for writers, music for writing, Music of Sacred Lakes, My Memories of a Future Life, Nail Your Novel, occult, pianists, piano, pianos, playlist for writers, Roz Morris, sadness, spiritual novels, spiritualism, supernatural, The Little Seer, The Thin Places: Supernatural Tales of the Unseen, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music
- 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.
- Join 15,016 other subscribers
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 2011-2023. 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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