Posts Tagged music for writers

The Undercover Soundtrack – Josh Malerman

redpianoupdate-3The 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 contemporary horror/thriller author and songwriter Josh Malerman @joshmalerman

Soundtrack by Richard Band, White Lies, Between Music, Allison Laako

You ever seen the 1986 movie Troll?  There’s a bonkers scene in which Sonny Bono (the very same) gets touched by the troll and turns into a forest. This scene scared the living piss out of my brothers and I growing up; watching the poor guy morph into an apartment full of plants (and the pain on his face, man o man) had me asking Mom if he was going to be okay. She said yes, he was gonna be fine, and then she laughed because, of course, she was thinking about Sonny and Cher, not “the poor plant man”.

Now, years later, I think about that conversation with Mom and I wonder if horror has a way of freezing time, trapping moments in amber. The Troll soundtrack came out on vinyl recently and I listened to it quite a bit while writing A House at the Bottom of a Lake, not because the music sounds like it’s underwater (that’ll come later here), but because Richard Band’s music has both the innocent freak and the wonder of youth. Cantos Profane best encapsulates this on the album. It’s the song most of us Troll-lovers remember the most from the film. (Recently I had a documentary crew at my house, filming a short about my first book, and I had Troll playing and when Cantos came on, he stepped out from behind the camera and said: “TROLL!”)

First date

A House at the Bottom of a Lake is about two 17-year-olds, Amelia and James, on a first date. It sounds perfect: canoeing across a chain of lakes, sandwiches and beer in the cooler. But the pair discover something below the water’s surface that changes their lives forever. It’s a house at the bottom of the lake.

Although most of the music informed the writing of the book was without lyrics… soundtracks… ambient noise (my cats included), there was a dollop of rock n roll. And nothing seemed to fit the mood I spotted between Amelia and James better than White Lies’s Death from the soundtrack to the movie A Girl Walks Home Alone at Night. I suggest you strip down to a t-shirt and underwear and dance alone like alone to this one.

Now freak

Because A House at the Bottom of a Lake is a first date story, a teenage love song, I gravitated toward movie soundtracks that do both the freak out and the wonder. Because that’s what teenage life is. (That’s what life is like now, too, but let’s focus on the past for a second here, eh?) The whole ‘gravitating’ thing becomes clear after the fact; I can’t imagine lining up a series of albums with a mind that this or that is going to influence the story because really why not listen to something that feels the opposite of your book idea and see what comes of it? But in this case, and in hindsight, it’s clear to me that I was thinking of teenagers in love and the horror of “firsts”: first kiss, first sex, first love. And, in a skewed way here, first home, too. So Troll worked because it came out about the time I was experiencing some firsts of my own. But about halfway through writing the book, my girl Allison discovered a band that changed the whole process.

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Yes. They’re under water

Now, before I introduce Between Music and their project AquaSonic, I feel it’s necessary to say that if I were making a movie, I wouldn’t be the type to play a song whose lyrics matched up perfectly with the scene. Too literal. Too cheesy. It just doesn’t feel right to play Mrs Brown You’ve Got a Lovely Daughter if a character of mine is named Mrs Brown and she actually does have a lovely daughter. But when Allison showed me a youtube clip of Between Music I said screw my own rules.

a-house-at-the-bottom-of-a-lakeThe band has an entire under water show. All their instruments are underwater, recorded under water, played underwater. Hell they even sing underwater. While working on the book I knew the setting was a naturally horrifying place: it’s dark, wet, distorted, cold, and claustrophobic. The only details of the house you see are by the end of your submerged flashlight beams, and that’s through the prism of your facemask. About 60 percent of the book takes place in the submerged house. So to discover a band who has shown us what music sounds like below the waves was, for me, a step deeper than kismet.

It was magic.

Here’s another clip (it’s too good for just one).

Courtship song

Lastly, I wish I had a clip of Allison performing the song she wrote based on A House at the Bottom of a Lake. “The Courtship of Amelia” is a gorgeous, freaky, hit and you’ll have to believe me when I say it’s an earworm. A worm that, I discovered, can live long under water.

Josh Malerman is the author of Bird Box and the forthcoming Black Mad Wheel (May, 2017, ECCO/HarperCollins.) Along with a half dozen published short stories, Malerman is also the songwriter for the rock band the High Strung. He lives with Allison Laakko and their pets (including a brilliant weimeraner named Valo) in Michigan. Find him on Twitter as  @joshmalerman and on Facebook.

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‘Teenage life is freak-out and wonder’ – Josh Malerman

redpianoupdate-3My guest this week is the perfect writer to see us into Halloween. He’s been a guest of the series before and he’s always had a liking for the unusual thrill. The title of his new release will probably tell you that: A House At The Bottom Of A Lake – an imaginative tale with plenty of scares and a good dose of first love. His approach to undercover soundtracks is also oddfield and individual – he likes to play music that feels very opposite of his book idea. But even he had to go with the flow when he found a band that played and recorded an entire show under water. He is Josh Malerman and he’ll be here on Wednesday with his Undercover Soundtrack.

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The Undercover Soundtrack – Deborah Andrews

redpianoupdate-3The 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 award-winning theatre practitioner Deborah Andrews

Soundtrack by Pulp, Oasis, Blur, Massive Attack, Portishead, The Cranberries, LTJ Bukem, Leftfield, Tricky, Goldie, The Verve, Bjork, REM, The Stone Roses, Morrissey, Tracy Chapman, Billy Bragg, Kate Bush, Nick Cave, Sufjan Stevens

The further I write my way into my second novel, the more I realise the extent to which my debut novel, Walking the Lights, is drenched in music. Music is at the emotional heart of the novel. It initially speaks of Maddie’s relationship with her absent father – the songs she remembers him singing to her – and it goes on to illuminate her relationships with her friends, her lovers and, ultimately, with herself.

undercover-soundtrack-deborah-andrews-1Personal and political

Walking the Lights is set in 1996/97. I was looking for connections between the personal and political – and a time that would echo Maddie’s emergence – and the culture and climate around the general election of ’97, along with the lead-up to devolution in Scotland, fitted perfectly. To help re-create the period, I read archive copies of newspapers; watched movies and read books from the era; and listened to music: Pulp, Oasis, Blur, Massive Attack, Portishead, The Cranberries, LTJ Bukem, Leftfield, Tricky, Goldie, The Verve, Björk…as well as to music that Maddie would’ve listened to as a teenager: REM, The Stone Roses, Morrissey, Tracy Chapman, Billy Bragg.

Music plays a large role in my life. As a child, I wanted to be a dancer and I trained in dance for ten years. To me, dance was a way of giving music physical form, of being a conduit for emotion. As an adult, I love listening to music as well as singing and playing the mandolin. I can’t write while listening to music though – my attention will be drawn away and my emotions pulled by what I’m listening to. I enjoy walking and mulling over what I’m working on, and will often put my earphones in and spend time getting inside my characters’ heads and hearts.

Inside out

There were two key tracks that really helped me to get to know Maddie from the inside out. The first of these was Massive Attack’s Unfinished Sympathy. The song relates to a carefree time in Maddie’s life when she used to go out clubbing with her friends, Jo and Roger, and it reappears – after a few dark years – with the prospect of a new romance with visual artist, Alex. I find the track hopeful yet full of longing, and I wanted to reflect something of the swelling strings in Maddie’s feelings of anticipation.

The second track was The Verve’s Bitter Sweet Symphony. This song helped define Maddie at the end of the novel: she’s been seeking love and validation, often looking in all the wrong places, and she’s been searching for her father, leading her to uncover family secrets and testing her hold on reality. She’s in recovery, and she’s reconnecting with her work in the theatre and her sense of purpose. Again, the hopefulness of the melody was important, the string motif, but also the lyrics: being held in one body while playing many parts aligns nicely with the life of an actor.

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I could wax lyrical about music in the book, but in terms of music behind the book three main tracks come to mind. In 2011 I was busy rewriting, changing the novel from first person present tense to third person past tense and experimenting with free indirect speech. This was particularly important to help me create some of some of the larger, political canvases, and to take the reader close in to Maddie’s breakdown without causing confusion as to what was going on. I went to see one of my favourite musicians, Sufjan Stevens, touring The Age of Adz at the Manchester Apollo. In I Want To Be Well I heard the chaos and fighting spirit that I was looking to portray in the third part of my novel. The gig itself was significant too – the massive hallucinatory spectacle, that became increasingly wild, and ended with a shedding of costumes, fancy lighting design, video and performance theatrics for a beautiful and tender acoustic rendition of ‘Casimir Pulaski Day’. This was the kind of spectrum I wanted my writing to encompass, and the kind of emotional adventure I wanted to take my readers on.

The second track, Kate Bush’s Cloudbusting, arrived as part of a compilation from a friend while I was editing my novel. I hadn’t heard the song in years and it had a big impact on me. Again, it really resonated with what I wanted my novel to achieve, both in terms of storyline – becoming an adult and coming to terms with the loss of a father – and in terms of emotion: the sense of struggle, strength, fight and defiance. I found the power of the cello, the rising voices, the drums, the layering in the track, like a call to action. I spent several train journeys with the song on repeat, and I think it helped me find the determination to make the novel as good as I could, as well as providing true north for Maddie’s trajectory.

walking-the-lights_coverfrontThe third track, Nick Cave & The Bad Seeds’ There She Goes My Beautiful World, served a similar purpose. The lyrics are poetic and talk of literary figures and inspiration – the sentiment, tune and arrangement are really kick-ass. Daft as it might sound, this track also helped me get ready to let go of my manuscript and my characters.

Novels can take years from first fragments to publication. I started writing scenes for what became Walking the Lights back in 2007. Playing a musical instrument reminds me that the basics are important, to build strength and improve technique: a lifelong development of craft. I’m always looking for my writing to have musicality – rhythm, flow, timbre, texture, growth, counterpoint – and at least one stage of my editing process involves reading my work aloud. The doubt I often feel when I start work on a new tune reminds me to keep chipping away at my writing, it shows me time and again how commitment and steady work can slowly build something complex and complete and, hopefully, moving and meaningful.

Deborah is an award-winning theatre practitioner turned novelist. Her knowledge of the theatre world inspired her debut novel Walking the Lights, which has been shortlisted for the Guardian’s Not the Booker prize. She has an MLitt (Distinction) and an AHRC-funded PhD in creative writing from Glasgow University. She now lives in Lancaster where she teaches creative writing. Her short stories have been published in several anthologies and she is currently writing her second novel. For more info. please visit her website and her Facebook page.

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‘Hope, chaos and a fighting spirit’ – Deborah Andrews

redpianoupdate-3I settled down to read this week’s Undercover Soundtrack contribution and what did I find? The writer seemed to have plundered some of my own favourite tracks. Massive Attack’s Unfinished Sympathy. The Verve’s Bittersweet Symphony. Kate Bush’s Cloudbusting (though if you’re as much of a Kate Bush nut as I am you could be forgiven for thinking I was going to make an orchestral hat trick with Symphony in Blue). Not only has my guest served up a stirring soundtrack, she’s also made big waves with the novel she’s showcasing – securing a position on the shortlist of the Guardian’s Not The Booker prize. She says music is the emotional heart of the novel, speaking of relationships, times, hope, love and validation. Drop by on Wednesday for the Undercover Soundtrack of Deborah Andrews and Walking The Lights.

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‘A fire was in my head’ – Sandra Leigh Price

for logoMy guest this week traces her novel to a series of musical and poetic influences. She says she can’t write or think in silence, but music or poetry orders her thoughts like a steadily flowing river. In her novel, her characters are travelling from darkness and confusion into light and her muses were WB Yeats, Joanna Newsom and Kate Bush. Drop by on Wednesday for the Undercover Soundtrack of Sandra Leigh Price.

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The Undercover Soundtrack – Anne Goodwin

for logoThe 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 book blogger, prolific short story writer and Polari prize nominee Anne Goodwin @annecdotist

Soundtrack by Jack Strachey, Faure, Grieg, The Dubliners, Mendelssohn, Karl Jenkins, Leonard Cohen, Terry Jacks, Country Joe McDonald, Jim Reeves, Eddie & The Hot Rods

Sugar and Snails is a mid-life coming-of-age story about a woman who has kept her past identity secret for all her adult life. The contemporary strand is set in Newcastle upon Tyne in 2004 from which my protagonist, Diana, looks back on her childhood in the 1960s and 70s in a North Derbyshire mining town, with a few weeks in Cairo at the age of 15.

Despite giving Diana some aspects of my own biography, I found it challenging in places to evoke the emotional atmosphere of her childhood. I had my memories, and the internet, but music proved a powerful tool in enabling me to delve that bit deeper.

The Undercover Soundtrack Anne Goodwin 1Dancing alone

In an early scene, Diana remembers dancing alone, aged about three and perhaps the last time she was at ease in her body. As it’s a long time since I was three, I listened to the music she’d undoubtedly have heard on the radio at home with her mother: the theme tunes from Housewives’ Choice (In Party Mood composed by Jack Strachey) and Listen with Mother (The Berceuse from Faure’s Dolly Suite Op.56). It was also helpful to listen to the music I’ve been told I danced along to as a toddler: In the Hall of the Mountain King from Grieg’s Peer Gynt.

Although Working Man by The Dubliners isn’t about Derbyshire, it helped evoke the culture of the close-knit mining community in which Diana grew up. Ave Maria of Lourdes perfectly brought to mind her Catholic background; albeit slightly disappointingly since there’s so much better Christian choral music I’d have preferred to have in my head.

Diana’s difficulty navigating the physical and psychological changes of adolescence is central to the novel. I thought I remembered mine a little too well but, once again, music brought me closer to that amalgam of confusion, self-pity and nostalgia. Almost anything in a minor key would have served the purpose, but one I kept coming back to was Mendelssohn’s violin Concerto in E minor. At the time of writing my novel, I was also addicted to Karl Jenkins’s The Armed Man (I’ve picked out the gorgeous Benedictus with the poignant cello solo), which not only put me in the right frame of mind, but served as a reminder that, for baby boomers like me and Diana, other people’s wars never seemed so far away. (As the piece also includes the Islamic call to prayer, it served a double purpose in conjuring up her auditory experience of Cairo.)

Key relationships

One of the key relationships in the novel is that between Diana and her father, Leonard. His character and his parenting decisions, such as they are, have been shaped by his own late adolescent experience as a prisoner of war in Nazi Germany. Like the biblical Abraham, brought to mind for me by Leonard Cohen singing The Story of Isaac, he sees his children more as offshoots of himself than as people in their own right.

While the Second World War impacted on her parents’ generation, Diana and her contemporaries watch in horror and fascination as, across the Atlantic, boys only a few years older are conscripted to fight in Vietnam. Country Joe McDonald’s Feel Like I’m Fixing To Die captures that period perfectly but I was surprised, watching the video, how young the hippies look to me now while, at the same time, they connect me to a younger girl to whom they appeared quite grown-up, and both exciting and terrifying in their rebellion. This fed into a scene in which Diana recalls her mother mistaking some long-haired boys for girls.

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Aged 15 in 1974, Diana makes a life-changing decision. The early 70s hasn’t produced the best pop music, but no doubt she’d have had the transistor radio tuned to Radio One that summer. Morbidly inclined since early childhood (I suppose she might have been a Goth had she been born later), I had her listening to a song that leached nostalgia from that era, Seasons in The Sun by Terry Jacks.

full cover (2)I began to write Sugar and Snails in 2008, only four years later than when the contemporary strand of the novel is set. So, while music wasn’t necessary to transport me back to 2004, some of my casual listening did have a bearing on my decisions about the plot. The romance storyline, in early drafts dispatched in a rather disastrous one night stand, loomed larger in the final version, partly thanks to my penchant for the kind of sentimental songs Diana’s mother might have listened to, such as I Love You Because sung by Jim Reeves. But, although I was clear Sugar and Snails wouldn’t be a novel in which the woman is saved by the man, I wasn’t sure how far I was going to take her along the road to self-acceptance. You’ll have to read the novel to find out to what extent she’s able to overcome her demons, but I did enjoy listening to Eddie and The Hot Rods sing Do anything you wanna do while I thought it through. Given the long journey to publication, it’s an anthem to motivate any writer to follow her dreams.

Anne Goodwin’s debut novel Sugar and Snails was published in July 2015 by Inspired Quill and longlisted for the 2016 Polari First Book Prize. Her second novel, Underneath, about a man who keeps a woman captive in his cellar, is scheduled for publication in May 2017. Anne is also a book blogger and author of over 60 published short stories. Catch up on her website: annethology or on Twitter @Annecdotist. In honour of its first birthday, Sugar and Snails is available in Kindle format at only £0.99 or equivalent until 31 July 2016.

 

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‘Music brought me closer to that amalgam of confusion, self-pity and nostalgia’ – Anne Goodwin

for logoMy guest this week has a novel about a woman who has kept her past identity hidden. The novel is its reckoning, of course, and its author had a challenge in evoking the many colours of her protagonist’s progress from child to woman. So she built herself a soundtrack. It’s a mix of radio theme tunes from her own childhood (possibly the first appearance in the series of Listen With Mother), traditional songs that conjure a powerful sense of place and melancholy reminders of the emotional rollercoaster of adolescence. Drop in on Wednesday to meet Anne Goodwin and her Undercover Soundtrack.

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The Undercover Soundtrack – Isabel Costello

for logoThe 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 novelist, short story writer and award-winning book blogger Isabel Costello @isabelcostello

Soundtrack by Bruce Springsteen, Pink Floyd, Red Hot Chili Peppers, Black M, Jane Birkin featuring Serge Gainsbourg, The Goo Goo Dolls, Paolo Nutini

Music has been a big inspiration in the writing of Paris Mon Amour although I never listen to it whilst working. I love these tracks for the great sound and vocals, of course, but what I most admire in my favourite singer-songwriters (they tend to be both) is their gift for telling a story and evoking a mood in three or four minutes.  The economy and intensity that come from stripping back to the essentials is something I aspire to as a novelist.

The Undercover Soundtrack Isabel Costello 2If I could only listen to one artist it would be Springsteen.  He has amazing range and to me he embodies ‘goodness’, a key motif in my novel despite the characters’ numerous misdemeanours. In The River, he captures something I’m very susceptible to: the beauty in sadness (or even ugliness), as he re-lives bittersweet memories. Back story gets bad press in fiction but it’s extremely important – the key is to give it the emotional clout of the present, and this song shows how.  I’m on Fire expresses passion in a mellow and understated way; my book is about a married woman of 40 whose life is upended by ‘bad desire’.  In these situations, you either rein it in or find yourself the (not) proud owner of a melodrama.

I love Pink Floyd and it’s perhaps fortunate that I can’t elaborate on the many ways in which Comfortably Numb resonated both in the story of Paris Mon Amour (some will be apparent) but above all in the creative process, which coincided with a turbulent phase in my own life.  It’s always the aim to leave the characters and the reader in a different place to where they started and in this case, the writer too.

Whilst we’re on the deep stuff, Californication by the Red Hot Chili Peppers is one of the few songs mentioned in the text – there’s a California connection – but again, it was very relevant to getting to the psychological core of the characters. It’s a very intelligent song: a complex questioning of what lies under the visible surface, something that fascinates me about people and places. In the book everyone’s hiding something from each other, and often themselves.

And that’s not all they’re doing.  The song that spoke to me on this was On s’fait du mal (We keep hurting each other) by Parisian rapper Black M, which I discovered thanks to my teenage sons. There’s a touching openness to this tale of remorse in which he acknowledges causing pain to those closest to him, something my characters know all about.  I’m moved by emotional honesty wherever I encounter it. Writing this book has made me less guarded and listening to this song played a part in that.

But for all this openness, as you’d expect of a book involving an affair, a lot goes on behind closed doors. I don’t need to get psyched up to write my sex scenes, which rarely get edited; all I need is to imagine my way into character and into the moment. Jane Birkin’s Je t’aime (moi non plus), featuring Serge Gainsbourg has become a bit of a parody – they do ham it up – but it always makes me smile and there’s plenty worth channelling: Gainsbourg has the ultimate sexy voice, the melody is languorous, the lyrics sensual yet remarkably direct, which is both characteristically French and the way I like it.

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Paris Mon Amour is definitely a love story as opposed to a romance novel, but it’s still the first time I fully unleashed my inner romantic, knowing if I didn’t feel it, nobody else would. To this end I often listened to Iris by the Goo Goo Dolls, which is the most heartrendingly beautiful expression of love I’ve come across.  It makes me feel a weird mixture of euphoria and devastation, both of which I needed to capture.  Again there’s that sense of vulnerability, where in falling for someone you surrender part of yourself you won’t ever get back, and of the most intimate connection possible between two people, which is never ‘just sex’, as Alexandra discovers to her cost.

PMA-FINAL-cropIf her lover Jean-Luc had been a more typical 23-year-old guy, she would never have ended up in such a mess.  He may not have been interested in her either.  But just as some people notch up decades learning nothing, others aren’t limited by their lack of life experience.  (I couldn’t have written this book any earlier.) My final song, Last Request by Paolo Nutini, is stunning but painful to listen to. It barely seems possible that he was only 19 when he wrote it 10 years ago – it helped me uncover the character of Jean-Luc, which only fully emerged in the later stages, and to explore in depth what he and Alexandra had together. It’s a great feeling when you find the missing piece.

Isabel Costello is a novelist and short story writer who lives in north London. Her debut novel Paris Mon Amour was released in June 2016 in digital (Canelo) and audiobook (Audible). Isabel’s work has been shortlisted in the Asham Award, the Short Fiction Journal Prize and the inaugural Room to Write competition judged by Pat Barker. She hosts the Literary Sofa blog, where you can find her selection of recommended Summer Reads 2016, and was recently longlisted for Best Reviewer in the Saboteur Awards 2016. She can often be found talking about books on Twitter @isabelcostello.

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The Undercover Soundtrack – GD Harper

for logoThe 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 GD Harper

Soundtrack by David Bowie, Bob Dylan, Tangerine Dream, JS Bach, Wagner, Pink Floyd, Van Morrison, Bruce Springsteen, Pulp, Velvet Underground, Lou Reed, Billie Holiday

In 1974, I saved up my paper-round money and bought a turntable. David Bowie burst into my monochrome life like a rainbow, daring me to be different. Aladdin Sane was the first album I bought, and every track seemed to be a coded message telling me there was no such thing as normal, there was no need to conform, that we had to be true to who we really were. Jean Genie filled my mind with surrealistic, decadent imagery, although on Cracked Actor a 27-year-old Bowie singing to a 16-year-old schoolboy about how fundamentally sleazy is a 50 year-old man brings a smile to my face today.

The Undercover Soundtrack GD Harper suspense thriller ScotlandBut it was Bob Dylan who set out the agenda by which I’ve lived my life. It’s All Right Ma (I’m Only Bleeding) told me if I wasn’t always busy being born, then I’d soon be busy dying. I’ve spent my life reinventing myself, in appearance, in career, in lifestyle, in geography. It’s what keeps me alive. Curiosity is a muscle that needs exercise to stop atrophy setting in.

Reinvention

And so to my novel, Love’s Long Road. I was 55 years old, had sold my business and finally in my life had a financial breathing space to take the risk of another reinvention, to become what I always wanted to be, a writer. My novel is set in the 1970s, of course. There’s never a time in your life like the one when the music in the charts is being written for your generation. It was an era I could write about with passion, and, with a little prompting from Wikipedia, from experience.

Lyrics had inspired me to start on this journey, but to write I needed to find music to fill my mind but not fight the words I was trying to get out. So thank you, Ian Rankin. He did a fly-on-the-wall documentary about his writing process and revealed the secret of his productivity: Tangerine Dream, a German electronic music group, whose vast, formless swirling soundscapes formed the perfect sonic background to my brainstorming and planning as the story took shape. I invested in the 4 CD boxed set, and loaded it into a multi-disc CD cartridge. I’d play it over and over again, never tiring of its astonishing ability to sooth and refresh my addled brain.

Bach and Wagner helped me raise my game when I was trying to be a bit cerebral when writing more literary prose, although I did feel a bit of a heel in the way I used Wagner in the book. The suave, sophisticated baddie in the tale quotes Frederick Nietzsche, has two Doberman Pinschers called Lucifer and Satan, and generally does all the things that scream out at you ‘run away, run away’ (which of course my heroine doesn’t do). So I had him listening to Wagner, even being a real Wagner buff, playing on all these Nazi connotations. Nothing could be more different from the ugliness of fascism than the beauty of Wagner’s music and I’m a bit ashamed of myself that in my own small way I’ve perpetuated a negative stereotype.

Legacy of Bowie

My main character was a 22-year-old woman, and I wrote the story from her perspective in the first person, a legacy of Bowie daring me from all these years ago. And as I started to write the story, the 70s setting started to grow in importance, becoming almost a character in the novel in its own right. The characters pored over the lyric sleeves of albums trying to decipher their meaning; there were parties, with blue lights and joss sticks and Pink Floyd’s The Dark Side of the Moon providing the soundtrack to mass snogging sessions. Clare Torry’s vocals on The Great Gig in the Sky 15 minutes 42 seconds after the thudding heartbeat opening on side one always seemed perfectly timed.

My character had to keep escaping from jeopardy and reinventing herself, so It’s All Right Ma (I’m Only Bleeding) spoke to her as well. And my faith in the corporate music world was boosted when I approached Dylan’s publishing company to quote his lyrics in my book and after they’d read the excerpts that feature Dylan’s lyrics, they became fantastically helpful and supportive in me securing the rights to do that.

The Undercover Soundtrack GD Harper noir music writingAs the story progressed, music continued to shape the writing. If I needed a burst of energy to complement Tangerine Dream’s calming influence, some early-period Van Morrison or Bruce Springsteen would do the trick. And at the risk of being accused of plagiarism, some of my favourite lines in the novel came when listening to lyrics. A seedy bar in the book, where

cigarette smoke hung in the air like a blue fug, the colour of missed chances and broken dreams

was written as Springsteen was singing in the background of broken heroes and their last chances in life on Born to Run.

And my description of a character as

having sprouted into a tall, gangly explosion of energy, jumping about like an oversized grasshopper

suddenly materialised while listening to Jarvis Cocker singing Common People.

Narcotic life

Perhaps the most powerful and harrowing part of the book is in the later stages, which deals with taking heroin and the lifestyle that goes with it. Writing in the first person, I felt I had to show my character initially embracing this destructive lifestyle, but it is a very challenging topic to write about, being mindful of the responsibilities of in any way glamourising or condoning drug abuse. It is still a bit of a literary taboo to describe the narcotic effect of heroin and I found as I wrote about my character’s descent into an opiate hell my writing became more metaphorical in nature. I let songs like Lou Reed’s Heroin or Billie Holiday’s Strange Fruit send goose bumps down my spine as I wrote this part of the book. I hope I’ve captured in some small way both the temptation and the danger of drugs as powerfully as these songs have done.

Final cover designAs I finished the novel and it went off for proof reading, I was, of course, shocked and devastated by David Bowie’s death. This is a blog about music but I can’t help but finish without paying tribute to not just Bowie’s musical genius but also to how his spoken word can be an inspiration. As I sat down to start my next book, I thought about what I’ve learned writing this one, about what to write, who to write it for, what people want to hear. And I saw this clip someone posted on Facebook today, with Bowie’s thoughts on the creative process. He says ‘Always remember the reason you initially started working was there was something inside yourself you felt, if you could manifest it in some way, you would understand more about yourself and how you co-exist with the rest of society.’

Good advice, David. Thank you.

Glyn Harper spent his career working in marketing for multinational corporations around the globe before setting up his own media and marketing consultancy in 1999. After selling the business in 2012, Glyn trekked the ‘Great Himalayan Trail’ in six months, becoming the first British man to cross the Nepalese Himalayas by the highest possible route. On his return Glyn started writing, being placed third in the Lightship Prize for new authors in 2014. Glyn’s hobbies include music, photography and writing about himself in the third person. Find him on Facebook and his website. Love’s Long Road is his first novel.

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‘Music to fill my mind but not fight the words’ – Glyn Harper

for logoMy guest this week says he is much concerned with reinvention. He’s spent his life setting himself challenges to embrace new careers, lifestyles, places to live – and the latest of those reinventions is being a novelist. His debut title is a story of 1970s Glasgow and required some daring imaginative reinventions – not least, writing in the voice and psyche of a 22-year-old woman. A soundtrack was essential – Tangerine Dream to soothe and order the brain; Pink Floyd, Bob Dylan and David Bowie to restart the period – and provide other wisdom besides. He is Glyn Harper – writing as GD Harper – and he’ll be here on Wednesday with his Undercover Soundtrack.

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