Posts Tagged music for writing
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 returning for a third spin – Gwendolyn Womack @Gwen_Womack
Soundtrack by Doug Appling, A Chorus of Storytellers, Sean Digo, Mozart, traditional Korean music, traditional aboriginal music, James Hood
Thank you Roz for having me back to the Undercover Soundtrack. I’m thrilled to delve in and discuss the music behind my new novel The Time Collector. The story is a romantic thriller about two psychometrists. Psychometrists are people who can touch objects and see the past embedded within them. The pair become caught up in trying to solve the mystery of out-of-place artifacts (“ooparts”) that challenge the timeline of recorded history. Within the narrative, the story travels back in time periodically through the objects, and the answer to the ooparts’ riddle lies hidden within the fantastical world of crop circles, ancient crystals, and sacred geometry. The book has many aspects, so the music I listened to while writing was highly varied too.
The main character of the book, Roan West, is a master psychometrist who has been peering into the past since he was a boy. He wears gloves to control what he touches and the imprints he reads. The only time he takes his gloves off for long periods of time is when he mountain climbs. He is an avid boulderer, someone who climbs without gear or ropes, and bouldering has become his outlet where he can recharge. When I went on YouTube to research videos of climbers I found the climbers’ playlists to be so kinetic and full of energy. I ended up getting several albums and looping specific songs. They became Roan’s songs in my mind. The music I looped the most for Roan was from the album Emancipator by Doug Appling. I particularly loved the tracks Rattlesnakes, Nevergreen, and First Snow.
The other psychometrist and main character in the story, Melicent Tilpin, is just starting out on her journey to becoming a psychometrist. For Melicent, I ended up looping A Chorus of Storytellers’s Within Dreams and Perro for many of her scenes. There is something elusively wistful about both pieces that struck a chord when I was trying to write her.
There is one song in general that I listened to the most throughout writing the book. I first heard it on the internet as background music to a short video piece that Futurism.com was circulating and I loved it so much I researched what it was and how to get it. It’s a short piece of instrumental music called Stream by Sean Digo and I was able to download on Audiojungle. I looped it for countless hours (hundreds) and even now when I listen to it the song brings back so many memories of the writing.
Parts of The Time Collector journey back in time through memories stored within objects. There were pieces of music that helped me write those historical passages. For example, within an antique music box lies the memory of 1700s Vienna and musical prodigy Regina Strinasacchi, who performed with Mozart. There’s a wonderful bit of backstory about the sonata Mozart composed for her and I wrote their chapter playing the sonata.
For another object’s memory—hidden within the key to the astronomical clock tower in Prague in the 1400s—I listened to medieval music on YouTube. And another memory is imbedded within an exquisite Korean fan of a young girl’s life during the Korean War. The girl’s mother was a musician and I found traditional Korean music to help spark my imagination. The full playlist is on my website, but this one performer is how I imagined the mother to look in concert.
An important flashback of the story takes place in Australia and I found some fantastic Aboriginal Didgeridoo music and another piece titled the Spirit of Uluru. I hunted all afternoon sampling music to find what I was looking for.
Sometimes though, you don’t have to go hunting for music, the music finds you. That happened to me while I was watching the movie Sing with my son of all places. One of the songs is a remake of Golden Slumbers/ Carry that Weight. The lyrics struck me and felt connected to Roan’s journey at the end. Roan is carrying the weight of the world’s memories inside of him and trying to get home. I ended up listening to the song many times for inspiration to write his journey. The spark of inspiration happened quite on accident while watching a Sunday family movie.
The two final pieces of music I want to mention is by one of my favorite artists James Hood. His previous album, Pure Ceremony, was pivotal when I wrote The Fortune Teller and it was incredible timing that his next album, Mesmerica, came out right as I was getting started on The Time Collector. The entire album is gorgeous! I ended up looping the songs Tapestry and Mesmerica the most, particularly while writing the end chapters. Last December I had the chance to meet James when I went to see his concert for Mesmerica. The show is an amazing 360-degree immersive art and music show that makes you feel like you’ve stepped inside a kaleidoscope. I highly recommend going. Visit his website to see if he’ll be coming to your city.
To sample all the music that helped to inspire The Time Collector, the playlist is on my website. And if you’d like to read my past posts on Undercover Soundtrack, here are my discussions for The Fortune Teller and The Memory Painter. One of the most enriching aspects of writing is to find the perfect music to go on the journey. I have infinite gratitude for all these artists who inspired me along the way. Thank you for listening!
Gwendolyn Womack is the USA Today bestselling author of The Fortune Teller and the award-winning reincarnation thriller, The Memory Painter. Her latest novel, The Time Collector, is out this month with PicadorUSA. Gwendolyn lives in Los Angeles with her family, collects kaleidoscopes, and paints as a hobby. Visit her online at gwendolynwomack.com or connect with her on social media at Twitter @Gwen_Womack , Facebook and Instagram
If you’ve followed this series for a while, you’ll recognise my latest guest. Gwendolyn Womack writes romantic thrillers imbued with a sense of metaphysics, time and memory. Her stories come to her through music and her Undercover Soundtracks have always been haunting and unusual, with a strong sense of place and emotion. I urge you to check out her first time on the series, when she introduced us to an album recorded inside the King’s Chamber of the Great Pyramid in Egypt. For her new novel, she conjures a psychometrist who can feel the history in any object he touches – so her mental and musical soundscape includes 1700s Vienna, 1400s Prague and the red plains of empty Australia. Drop by on Wednesday for her latest Undercover Soundtrack.
My guest this week has written a memoir of life as an international concert oboist, juxtaposed with a parallel narrative of a precarious and troubled personal life. I first came across her on The Literary Hub, where she wrote about how she left the very worst experience of all out of that book. It was so haunting that I contacted her and asked if there was any way she could write a piece for this series. She has, and the result is a trip through music that has helped her remember, or dredge up the times she preferred to forget, and moments when music helped her make life choices because of the clarity and discipline of playing. Stop by on Wednesday for the Undercover Soundtrack of Marcia Butler.
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
My guest this week began her novel as a NaNoWriMo project, appropriately enough for this time of year. But its true seeds were at a gig in the late 1990s where the show was stolen by an eight-year-old fiddle player. Years later, the author sat down to power through a manuscript idea for NaNoWriMo. She used songs of the 90s and early 2000s to take her mind back to the night with the fiddle player, but nothing would make the words flow until an album of Tibetan chants popped up on her music library. She found the zone. She is Leslie Welch and she’ll be here on Wednesday with her Undercover Soundtrack.
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 writing teacher, award-winning novelist and piano tutor Kris Faatz @kfaatz925
Soundtrack by Bob Dylan, the Rolling Stones, Air Supply, John Mayer, Van Morrison
The first seeds of my novel To Love A Stranger came into my head in the fall of 2007. At the time, I had recently finished my grad studies in piano performance, gotten married, and started working professionally as a piano teacher. I’d written almost no fiction since high school, about 10 years earlier, and had never tried – or thought seriously about trying – to write a novel.
Stranger came out of the backstage world of the classical symphony. My two main characters, Sam and Jeannette, are a conductor and a pianist, respectively. They and their story woke up in my imagination because I had fallen in love with that particular piece of the music world, where people come together to create huge living pieces of art. Some of my favorite classical music, for solo piano and for symphony, ended up in Stranger, because I wanted to share the experience of hearing and being part of those works with readers. During the first months of writing the novel, though, I listened to very different music.
When I started the project, I had a starry-eyed idea that writing a book would take a few months and then we’d be off to publication. Pretty soon, I realized I had let myself in for worlds of trouble. I was in love with Sam, my primary character. He was clear and alive in my mind, and his story – about love and loss, and isolation and condemnation because of the person he was – felt urgent and real. I wanted to get it onto the page, but quickly realised I didn’t have the skills I needed. Frustration set in even as I tasted, for the first time, the exhilaration of a story that wanted to take root and climb for the sky.
Music pushed me along. First, I needed to anchor myself in Sam’s time and place. He was born in the early 1960s, and Stranger was ultimately set in the late 1980s, while I was born in 1979 and needed some way to touch a past I hadn’t experienced. One of the first tunes I listened to for inspiration was Bob Dylan’s Hey, Mr. Tambourine Man. I’m embarrassed to admit I’d never heard any Dylan before, but the tune quickly wrapped itself around my imagination. As I listened to Dylan sing, I felt myself reaching back and linking hands with people in the first crowds that thronged to hear him. I felt the energy of that time and understood why Dylan’s audiences fell in love with his candid, wistful lyrics. For a heartbeat or two, I was part of the generation that had claimed him as its voice.
From that early tune, I moved to Dylan’s Blood on the Tracks album, and did my best to wear out my husband’s copy of it during the first year of working on Stranger. You’re Gonna Make Me Lonesome When You Go wasn’t just a time-anchor: it drew me a picture of a central relationship in Sam’s life, a love he had held and then felt compelled to let go. I listened to the tune over and over, caught the mood, cried over it, and did my best to put what I saw and felt on the page, as imperfect as it had to be.
“Gil,” Sam said, “listen.” He had to say something before it was too late, if only he could find the words… “I married her, but…” There it was, the simplest thing in the world. “I love you. Always. You know that, don’t you?” I never stopped loving you. I never should have left. I’m so sorry, Gil.’
I was disappointed not to be able to find a link to this tune as it’s performed on the Blood on the Tracks album. If you’ve never listened to the album, do yourself a favor and check it out.
Songs like Lonesome, about love and loss and missing the one who was gone, kept me focused as I stumbled along, trying to write the story that felt more urgent to me every day. I went to the Rolling Stones’s High Tide and Green Grass album and played Tell Me You’re Coming Back To Me over and over in my car as I drove to piano lessons. The song told me everything I needed to know about Gil, the man Sam had loved, and how Gil felt after the relationship ended. Air Supply’s Making Love Out of Nothing At All filled the same function (as cheesy as the song sounds now to this 80s child’s ears). The thread about Sam and Gil helped pull me back into the story every time I got frustrated again with my limitations as a writer.
Stranger took far more than a few months to see through to completion. When the book was released in May, it had been almost a decade from start to finish. During those years, I realized that I wanted to be a writer even more than I wanted to be a musician, and I learned the writing craft pretty much from scratch. By the end of that journey, almost any music I heard anywhere was about Stranger in some way, or about the need for courage and persistence. As I wrap up these memories, I have to mention John Mayer’s Say (What You Need To Say) and Van Morrison’s Queen of the Slipstream, neither of which has to do with Stranger’s story, but both of which kept me writing when I didn’t want to.
Ultimately, To Love A Stranger exists because of music. The story could not have existed, or made it into the world, without the melodies that fill it and the tunes that carried me along when I needed them.
Kris Faatz’s short fiction has appeared or is forthcoming in Kenyon Review Online, Potomac Review, Reed, Digging Through the Fat, and other journals. Her debut novel, To Love A Stranger, was a finalist for the 2016 Schaffner Press Music in Literature Award and was released May 2017 by Blue Moon Publishers (Toronto). She has been a contributor at the Sewanee Writers’ Conference and a fellowship recipient at the Kenyon Review Writers Workshops, and is a pianist and a teacher of creative writing. Visit her online at her website, on Facebook, and on Twitter @kfaatz925
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 by award-winning novelist, poet and novella-ist Heidi James @heidipearljames
Soundtrack by Nirvana, Ane Brun, Jason Donovan, Kylie Minogue, David Bowie, Beastie Boys, Portishead
I’ll start with a confession – I don’t usually listen to music when I’m writing or reading, or cooking or clearing up, or anything really when I’m alone. I prefer silence and birdsong. Partly I think that’s because I’ve lived all my adult life with people who love and make music, and so have been saturated by other people’s sounds and musical choices; and partly because I have a noisy, busy mind, music has been too much of a distraction, especially if I’m in company, the noise making them less easy to access or decipher.
Yet, that changed when I started writing So the Doves. One strand of the narrative is set in the late 80s and early 90s, so listening to music from that era was essential to finding my way back to the texture, smells, fashion and visuals of that time. Listening to random tunes that I’d never usually listen to, like Jason Donovan and Kylie Minogue’s duet, Especially for You (time hasn’t improved it to my mind) helped me visualise that world of my childhood in ways that are not part of the novel, but that would be crucial to the writing of it. Hearing Terence Trent Darby’s Wishing Well, I could see our neighbour, Martin, in his socks and sandals, his knee-length grey shorts and neatly ironed t-shirt as he polished his blue Datsun and there was my mum, her sunbed on the patio, soaking up the rays, cigarette smoke turning and rising above her.
The main characters in the novel, Marcus and Melanie, forge the first bonds of their teenage friendship from a love of music:
‘Marcus,’ she said, her voice low and soft, ‘do you honestly think that what you learn in class today will be of more value to you than what you’ll learn in Vinyl Exile? Come on.’ She stood up, raised her eyebrow and cocked her head in the direction of town. ‘Let’s go my rebellious friend.’
And so I started to listen to the music I imagined they loved and from there the characters became more complex, more rounded. I could see them and hear them when I listened to the razored bass that slices through Blew on Nirvana’s Bleach, I was there lying with them on Melanie’s bedroom floor, sympathising with their longing for the day when they would escape the misery of their/our small town. I remembered the dull rage of interminable Sundays, the relief of good friendships and the welts left from clumsy kisses and lazy punches. About a Girl could’ve been written for Melanie. She’s charismatic and bright and unlike Marcus, she can see straight to the heart of things:
It’s weird; it’s like all romance and glitter and rags; as if it isn’t enough to just be a person who doesn’t fit, because that isn’t worthy of respect.’
Vibrant and fearless, she’s the girl everyone wants to know, everyone wants to be and then she vanishes; and Marcus is alone, and left looking for a truth he won’t find, despite searching throughout his award-winning career as a journalist.
This listening started as a point of reference and research, and yet, the more I listened to music, the more I had a sense of who I had been, the music I’d loved and so I started listening to more and more, rediscovering a self and tastes that I had forgotten. The sweep and drama of Bowie’s Life on Mars, the muscled bass and guitar on Beastie Boys’ Sabotage, the slinky sorrow in Portishead’s Sour Times – the music began to reorder and disrupt the strange taxonomy of my memories, easing the writing but so much more than that too.
Music became a space, a sonic zone of suspense from the physical world. It has become a haven for me, where before it was an irritant, an oppressive force. I tuck myself inside Ane Brun’s Halo, and feel strangely held in the embrace she is singing about, her voice tender and fragile. It reminds me of fiddlehead ferns, the feathery leaves coiled tight; of nests woven from grass; of the tangled strings of cat’s cradle caught on my Nanna’s fingers.
Marcus buys Melanie a record, and it’s a precious gift, the music pressed flat into an object that exists even without the means to play it, and here I am, having sold most of my CDs and records, with a music collection that is ephemeral, spectral, comprised of airwaves and numerical codes, contained on my phone, stored in a cloud. Like the angels I believed in when I was a child.
So I’ve begun to listen to music again, for me.
Heidi James’s novel Wounding was published by Bluemoose Books in April, 2014. She was a finalist for the Cinnamon Poetry Collection Prize. Her novella The Mesmerist’s Daughter (published by Neon Press in April 2015) won the Saboteur Award. Her novella Carbon, was published in English by Blatt and in Spanish by El Tercer Nombre. So the Doves is her second novel. Find her on Twitter and Instagram as @heidipearljames and on her blog/website HeidiJames.me
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’s post is by Leonora Meriel @leonora_meriel
Soundtrack by JS Bach, Debussy, Sofia Rotaru, Rodnya Ensemble, Ukrainian Folk Choir, Emil Krupnik
The Woman Behind the Waterfall is the story of three generations of women in a Ukrainian village. The mother, Lyuda, cannot escape the belief that she has got everything wrong in her life, and yet her seven-year-old daughter Angela challenges that belief every day. The novel covers choices and mistakes and consequences and childhood, set against the background of a Ukrainian springtime.
The writing of the novel happened in several different ways. Some I wrote as pure emotion. Some came from images I held of the Ukrainian countryside, and I wrote as a painter, working to describe the landscape with all the sensory elements, just as I had experienced it at the time. Other parts I wrote with mental purpose, seeking a way to portray an aspect of Ukrainian life in a scene that carried the story forward.
These internal and external methods of writing demanded their own music, and I developed a set of pieces that would take me to the places where I could create what was demanding to be written.
The piece of music which was listened to the most is the well known and loved Cantata 147 by Bach: Herz und Mund und Tat und Leben. I am not a musician, and yet this music seems to me utterly perfect. The notes and melody are so contained and precise. They hold their beauty and passion with such poise that for me, it amplifies the love and grief and heartbreak that I hear in them, and that guided me to write the character of Lyuda, who struggles to lift herself out of her sadness for the sake of her daughter, and is constantly drawn back into her guilt and self-blame.
In my second novel, The Unity Game, a speculative sci-fi tale set in Manhattan, a distant planet and the afterlife, I tried to express this idea, when one of the characters finds himself in a garden, shortly after his death:
It was as if he were listening to the most exquisite piece of music which had never been written, but was being played, somehow, because the notes, in their creation, had contained the possibility of that music within them.’
My other classical muse was Debussy. The Ukraine I set out to portray in The Woman Behind the Waterfall was the rich countryside of western Ukraine in the regions of Lviv, Ivano-Frankivsk, Bukovyna and the pre-Carpathians. These areas are breathtakingly beautiful and lush. They are wild and untameable and terrifyingly fertile. They are more green than you could imagine was possible and in spring, everything is growing around you from the famous ‘chorniy zemlya’ – black earth. I found that Debussy’s passionate, wild yet dream-like music reflected these scenes for me. They are sensual and surreal and beautiful, just like the spring countryside, where every sense is filled and filled – intense smells, animal and village sounds all around, colour everywhere, the heat on skin.
For my ‘mental purpose’ writing, I listened to Ukrainian folk music to write about the three generations of women, and about life in the Ukrainian village. The joy and fun of the music and focus on nature reminded me of how Ukrainians love to party – to drink, dance, laugh, sing – and this is significant in my novel as Lyuda, the mother, has trapped herself in a private world of depression away from all this happiness.
The song Chervona Ruta, sung here by Sofia Rotaru, refers to a legend which is featured in The Woman Behind the Waterfall – the night of Ivan Kupala. On this midsummer celebration, unmarried girls go through rituals to predict and attract their future husbands, including leaping over village fires and plaiting their hair in special ways. According to legend, the ‘ruta’ or rue flower, which is usually yellow, turns red for a short time on the night of Ivan Kupala, and any girl who finds the red flower will be happy in her love.
‘Shanson’ music helped me to tap into the male characters in the novel, especially when I had to write about their choices and how they would approach a situation. Shanson can be described as Soviet prison music, and usually involves one or two men growling into a microphone with a guitar, accordion and sometimes drums to accompany them. Every taxi driver in Ukraine listens to Shanson UA and it goes perfectly with driving in a country where life is hard and unpredictable. It is angry and heart-breaking and rough and cruel. Here is an example of a Ukrainian artist Emil Krupnik singing Murka.
Ukraine has an incredibly interesting culture. If any readers have been tempted by this piece, I would urge them to go and visit this wonderful and always surprising country. If time and money are limited, you could read about the western part in The Woman Behind the Waterfall.
Leonora Meriel grew up in London and studied literature at the University of Edinburgh and Queen’s University, Ontario. She worked at the United Nations in New York, and then for a law firm. In 2003 she moved to Kyiv, where she founded Ukraine’s largest internet company. She learned to speak Ukrainian and Russian, witnessed two revolutions and got to know an extraordinary country at a key period of its development. In 2008, she returned to her dream of being a writer, and completed The Woman Behind the Waterfall, set in a village in western Ukraine, published in 2016. Her second book, The Unity Game was released in May 2017. Find her on her website, Goodreads, Facebook and Twitter as @leonora_meriel
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’s post is a return visit by author, editor, journalist and musician Andrew Lowe @andylowe99
Soundtrack by Blanck Mass, Glass Animals, Johan Johansson, Kris Kristofferson, Leodoris, Mark Pritchard, Mogwai, UNKLE, YouTube tropical island ambience
Kris Kristofferson came first. At the end. A slow pull-back, with Nobody Wins playing over the scrolling credits.
I’d had the Savages story pinballing around my brain for a while, but hearing Nobody Wins gave me that final scene. It underscored the logic of the story, seeped into the characters and themes. It unspooled the narrative backwards, giving me the focus to go forward.
If some kind director (Shane Meadows or Danny Boyle, please) makes a film of the book, I would insist they pack the soundtrack with the music I used to fuel the writing. Because, for me, music isn’t a lubricant or a catalyst. It’s central to the story of a novel’s creation; as crucial as the ramblings in my notebook app, the epiphanies in the supermarket queue, the drafts and redrafts.
I know some writers like silence or white noise or Brahms or Schubert or Eno, but I can’t make it happen like that. I need the mood of the music to match the tone of the scene, and, while I’m at it, I like to transpose the tunes into a fantasy soundtrack of the movie of the book. (Actually, let’s go for Ben Wheatley.) With Savages, that meant the wall-of-sound headrush of Blanck Mass for the final five chapters, Mark Pritchard’s ominous minimalism for the bad blood of the mid-section, and the cataclysmic crunch of Johan Johansson’s The Beast for a pivotal scene that I wanted to read like the slow and pitiless turning of a torture-rack wheel.
Savages is the story of Joel Pearce, a suburban GP who’s looking to shake up his routine. He receives an extravagant gift for his fortieth birthday: a ‘desert island survival experience’ and, despite being a creature of home comforts, he rises to the challenge. Together with four friends, he travels to a remote tropical island in the Philippines for three weeks of indulgence and self-discovery.
It doesn’t go well.
Savages is, I hope, a thriller that plunges the reader into deeper genre waters. I wanted to write something instant and high-concept and broad, but smuggle in plenty of literary layers and contemporary obsessions. (Self-improvement, male identity, ageing, post-hedonism, the blurring of the fake and the real.)
I read plenty of genre thrillers; mostly crime and psychological. When they’re good, they can be very, very good, but when they’re bad, they can feel like dressed-up research or algorithm-friendly templates, hacked out from the walls of the deepest data mines.
Over the last year or so, the most interesting books I’ve read have dabbled with fusion. The author has taken a little from this genre, a dash from that, and moulded their story into a lateral but nourishing whole. I’m thinking of Elan Mastai’s All Our Wrong Todays (sci-fi romance), Sara Baume’s Spill Simmer Falter Wither (one man and his dog and the human condition), Adrian J Walker’s The End of the World Running Club (post-apocalyptic existentialism).
With Savages, I wanted the fusion to come from a tweak to the three-act convention. Act One is character study; family and relationship drama. Act Two is a psychological thriller; mounting tension, known unknowns. Act Three is all-out action thriller, bordering on horror. And it’s all served up with a twist inside a twist which came from that Kris Kristofferson eureka! moment.
I don’t only use music as a writing backdrop; it always seeps into the story when I’m out and about, under headphones. With any writing project, I usually have a signature song that follows me around; something that seems to connect with the story’s ambience and conflict. For Savages, it was Toes by Glass Animals, with its furtive, feline slink and talk of “divine ape-swine”. (The song is a perfect fit for the setting, as it’s clearly inspired by HG Wells’s The Island of Doctor Moreau.) I also loved the brooding sensuality of Leodoris’s Run, those honking synth stabs hinting at whatever evil lurks deep in the febrile vegetation, and the way its title chimes with one of the book’s recurring ideas: progress, forward momentum, running, the urge to run when there’s nowhere to run to, the limbo between fight and flight. (UNKLE’s Panic Attack helped here, too, as did Mogwai’s Glasgow Mega-Snake, a glistening guitar meltdown that I used as pre-writing psyche-up.)
And when I had to glue myself to the writing chair in the middle of a dark and dismal winter, and cook up scenes of heat and light and powdery beaches, I turned to old YouTube, where some kind soul had stuck a static camera under a palm tree and captured an uninterrupted hour of the kind of desktop-background fantasy island described in the book. Outside my window, the North London streets glittered with frost, but in my writing cave, I was transported, tapping away to the sounds of chirping cicadas, rustling palm fronds, cresting waves. The soundtrack helped me to create an authentic bucket-list dreamworld, which I could take great pleasure reshaping into a nightmare.
Andrew Lowe is an author and editor who has written for The Guardian and Sunday Times, and contributed to numerous books and magazines on film, music, TV, sex, videogames and shin splints. He divides his time between various rooms of his home in London, where he writes and makes music (as half of electronic duo Redpoint). He gets out of the house by running, cycling and coaching youth football. Savages is out now in ebook and paperback. Audiobook coming soon. His website is here, his Facebook page is here and you can tweet him as @andylowe99