Posts Tagged Nail Your Novel
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 Chrissie Parker @Chrissie_author
Soundtrack by Elena Paprizou, Glykeria, Beth Nielsen Chapman, Charlie Worsham, Massive Attack, Portishead, Jem, The Moxy
I love music, my ipod goes everywhere with me, and I always listen to music when I write. Everything I write ends up with its own playlist, and certain songs on that playlist define the work, and its characters. Among the Olive Groves was no different. Whilst writing it my brain filled with so many songs that I love. They saw me frantically pouring my heart out onto the page, breathing life into it, and for me they have become an integral part of the book that will always remain.
A magical island
Among the Olive Groves centre’s around two women, Elena and Kate, who live in two different periods of time. They are both affected by similar issues; strained relationships, uncertainty in their lives, and outside factors that control and dictate their lives. Even though parts of the book are set in Bristol and Cornwall, the majority is set on the Greek Island of Zakynthos. Αστέρια (Stars), by Elena Paprizou, is a modern Greek song that reminds me of everything I love about Zakynthos; the high cliffs, sweeping beaches, crystal turquoise seas, green mountains and the history of the island. The song binds them together perfectly.
I fell in love with the island when I first visited, it’s a magical place, and it’s the reason I chose to set the book there.
Greek friendship that turns to loneliness
Greek music played a huge part in this book, especially when writing about Elena my Greek war heroine. I listened to many traditional Greek albums writing this book, but one track stood out. Tik Tik Tik by Glykeria is a great up-tempo Greek song, it’s very like Elena’s character happy, feisty and a little mischievous. The Festival in Macherado is full of dancing and Greek tradition, and in that scene Elena longs to dance with Angelos, the man she has become good friends with, but knows that she can’t. Instead they sneak off to the outskirts of town and talk while the sounds of the festival waft around them.
Eventually Elena and Angelos fall in love, but they’re from different backgrounds and know that they will never truly be together. When Angelos’s father forces him into a relationship with another woman. It’s in this moment that Elena realises she is alone and always will be. Sand and Water by Beth Nielsen Chapman, is a hauntingly beautiful song that epitomises Elena’s unending feelings of loss and loneliness. Listening to the song, I see Elena wandering through the olive groves, sitting on the beach or standing on a cliff top staring out at the sea mourning the loss of her one and only true love.
Relationships to last for decades
Love Don’t Die Easy by Charlie Worsham is a song that belongs to Kate and Fletch and their relationship that spans over a decade. Despite spending much of that time apart their relationship remains the same. Hardship and struggles may have defined the people they have become but their love didn’t die and is stronger than ever.
There were times though when I just couldn’t get into Kate or Fletch’s head at all, and wanted to feel closer to them. I thought that maybe listening to music from the area where they lived would help and it did. Protection by Massive Attack, Glory Box by Portishead, and Missing You by Jem, really stood out and became favourites. They reminded me of all the things I love about Bristol, and the West Country. They define the young, life and surf-loving characters.
When the Germans finally capture Elena, Angelos is heartbroken. He feels guilty and wishes that he could have done more to protect her. As he hides in the grass at Keri watching the Germans taunt her, he is completely torn. He desperately wants to save her from their enemy, but knows that if he does he will get arrested or die trying. Save You by The Moxy, was a song that really struck home while writing this scene, so much so that it’s an emotional listen. The equal guilt and fear from the two characters are so present in the music and the lyrics, it’s as if the song is saying exactly what Angelos longs to say to Elena.
Chrissie Parker lives in London with her husband and is a production co-ordinator in the TV, documentary and film industry. Her thriller Integrate was released in October 2013 and her historical novel Among the Olive Groves was released in July 2014. Other written work includes factual articles for the Bristolian newspaper and guest articles for the charities Epilepsy Awareness Squad and Epilepsy Literary Heritage Foundation. Chrissie has also written a book of short stories and poems, one of which was performed at the 100 poems by 100 women event at the Bath International Literary Festival in 2013. Her website is here, her Facebook page is here, her Facebook group is here, her blog is here and she’s on Twitter as @Chrissie_author.
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 Scott D Southard @SDSouthard
Soundtrack by Fiona Apple
Music can be like little time capsules. For some, they may return you to younger days, for me they return me to books. Whenever I take on a project, my creative psyche demands that I find the right soundtrack for it. And if I don’t, I might as well kiss that creative spirit goodbye. They flounder, gasping and dying like a fish out of water.
When I began work on my novel Permanent Spring Showers I knew I was doing something a little odd. It was a book very loosely based on a screenplay I had written years earlier, but this was going to be a very different work, not an easy adaptation. Also, I was going to present it chapter by chapter on my site. I liked to call it then a book in real time since you could enjoy the book and witness the creation of it as well. Yet, it was even more than that. Since I wasn’t bogging myself down in thoughts of sales, agents, and publishers, I was opening the door for sheer possibility. I could do anything, only limited by my own imagination.
It was so creatively exhilarating to throw off the shackles that so many of us feel when creating. And, adding in the danger that I could screw it up at any moment (for everyone to see) was just as thrilling. I was playing with literary fire. Luckily, I never felt alone in the flames.
The Muse Behind the Story
Around the time I began work on my little literary experiment, Fiona Apple had released her CD The Idler Wheel…. It’s a different kind of CD for Apple, losing her big production feel that she used to have working with Jon Brion, now simply just a piano and drums. And sometimes the piano is only keeping tempo to her singing. This put her lyrics and voice solely in the front. It gives the album almost the feeling of a therapy session as Apple deals with her demons and frustrations in each song. When she screams, she screams from her soul. You would have to be a cold person indeed not to feel it.
Permanent Spring Showers begins with an affair, a betrayal.
After discovering her husband’s affair, Dr Rebecca Stanley-Wilson has one of her own. The problem is her drunken one-night stand was with an upcoming painter named Vince. That evening inspires one of the greatest works of art, capturing the world’s attention by storm. The book is about each of the people tied to that painting and that spring of its creation. Some are lovers, some are writers, all are a little broken.
Characters breathing in the songs
I see my characters throughout Apple’s CD. Putting on the CD, doesn’t just take me back to when I was writing the work, it reintroduces me to old friends.
Let me give you an example. One character is an experimental author named Jenn Gane. Her dream is to make a new literary genre, and to accomplish that she needs an unsuspecting victim/character. Poor Steve doesn’t realise how much his life and heart is being manipulated by Jenn. Jenn is the song Daredevil with lyrics about taking from others and not worrying at all about the consequences, especially to the other individual
What about the pure creative energy of Vince? For me that is the vibe of the last song Hot Knife. In the song Apple seems to sing about obsession, but the song grows and grows as her voice multiples into different personalities almost all overcome by passions. I like to imagine that is what it is like in Vince’s head when he is creating, with the unrelenting beat of the timpani driving him forever forward.
And listen to that piano line in Left Alone. That right there is the mind of the character of Steve captured in song. In Steve’s story, he came home to find his girlfriend had moved out, leaving the apartment a mess and no note. Finding her and discovering why she left is Steve’s main focus and until it happens he is almost in a panic just like the song. Lost in hopeless and anxious energy.
I could go on and on… The fact is I needed this CD, my book demanded it, and I was lucky to find it.
I used to dream of the idea of collaborating on a novel with a musician, having a CD to accompany the work, both complementing each other. The funny thing is with Permanent Spring Showers, I seemed to have accomplished that with Fiona Apple. She just has no idea I did. My dream is that someday she will discover the book (and she won’t mind).
Fiona Apple seems to demand your attention throughout her CD, definitely making an album that is never merely background noise. Her heart is in every song, soaring and breaking. I like to think that each of my characters do that as well in Permanent Spring Showers.
Scott D. Southard is the author of A Jane Austen Daydream, Maximilian Standforth and the Case of the Dangerous Dare, My Problem With Doors, Megan, 3 Days in Rome and Me Stuff. His eclectic writing has also found its way into radio, as Scott was the creator of the radio comedy series The Dante Experience. The production was honored with the Golden Headset Award for Best MultiCast Audio and the Silver Ogle Award for Best Fantasy Audio Production. Scott received his Master’s in writing from the University of Southern California. Scott can be found on the internet via his writing blog The Musings & Artful Blunders of Scott D. Southard where he writes on topics ranging from writing, art, books, TV, writing, parenting, life, movies, and writing. He even shares original fiction on the site. Scott is also the fiction book reviewer for WKAR’s daily radio show Current State.
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 Audrina Lane @AudrinaLane
Soundtrack by Berlin, Wham!, Rick Astley, Robin Beck, George Michael, Bill Medley, Jennifer Warnes, Patrick Swayze
As I started 2013 and my 40th birthday I started to think about what I still wanted to do with my life, call it a mid-life crisis bucket list. It was a time to look back into my past from an 80s adolescence to my life today and wonder if I had made the right choices. Music has always been my life blood from watching Top of the Pops in the 70s and wanting to be a dancer in Hot Gossip, right through to the fact that I always have music on in the office, house, car and headphones. Wherever I was working on my novel the music was there.
So on my bucket list I wanted to write a book, my first attempt at this was in 1992 after suffering my first break-up. It was called Take my Breath Away and straight away you can see that the song by Berlin was my starting point. The mood and lyrics of the song a haunting epitaph to lost love. Afraid of rejection of my teenage romance novel I shelved it.
Happily in February 2013 I found the manuscript and set to work to achieve my dream. The title of my novel is a song Where did your heart go? By Wham, its poignant lyrics and soulful vibe pointed me in the direction my story was going to take. With the local radio station on I decided to bring my idea from 1992 into the present and include music that I loved from the 80s. By setting my novel in 2013 my main character Stephanie Eden, widow, single mother and local radio station DJ is 40 years old. She grew up and experienced love for the first time in 1988. The song that made me remember my first love was First Time by Robin Beck. I listened to this track constantly as the lyrics evoke that breathless yearning when you are hit by love. I needed the music of the era to awaken my memories.
Stephanie’s daughter Charlotte is 16 in 2013 and just experiencing her own break-up. Stephanie remembers her diary from 1988 from when she was 16 and about to embark on her first relationship. Handing the diary to Charlotte she lets her read about how first love was in 1988 compared to 2013. My favourite scene is Stephanie’s first kiss with Lifeguard James, unexpected and beneath the water in the local swimming pool where they met.
I felt his lips on mine, soft and firm against the liquid coolness of the water. We were suspended in a timeless moment’
Stephanie yearns to be a DJ so for every romantic event in her relationship a song comes to mind and for this kiss it was Whenever you need somebody by Rick Astley. Upbeat and hopeful like my character feelings.
You feel for Stephanie when she realises that James is moving away. I needed a song to express the yearning and desperation she feels and I listened to A different corner by George Michael, the lyrics and piano on the track highlighting her yearning and the decision she made that led her to James in the first place. Stephanie has never moved on from her first love, despite her short marriage and the birth of her daughter. James has kept appearing in her memories every time she hears a song from the past. How many of us have experienced the same thing when you hear a certain song?
Music was such a powerful memory tool and one that I could never silence no matter the pain it bought.’
Charlotte loves music, influenced by her mum’s career and also her own dreams of becoming a dancer. I hope you are all seeing the parallel’s in my own ambitions?? At a dance competition Charlotte meets Mitchell and with a shared love of the film Dirty Dancing they re-create the iconic dance to the song I’ve had the time of my life, it becomes the first song of their relationship.
She could almost hear the music in her head, just louder than the beating of her heart as they moved together in perfect synchronicity.’
The book follows both characters through their sexual awakening and each of these scenes was easier to write with a song playing for the characters. For Stephanie and James I found it in the beautiful lyrics of George Michael’s Father Figure, for Charlotte and Mitchell with She’s like the wind by Patrick Swayze. As Stephanie watches her daughter falling in love she wonders if she should give love one more try?
In a way the soundtrack of my teenage years became those of the characters I was bringing to life and recreated that magical feeling of first love.
Audrina Lane lives in Herefordshire with her partner and two dogs. She works full time for the Herefordshire Library service which means she is surrounded by books every day. Where Did Your Heart Go? was released in July 2013 and her second book, Un-Break my Heart, was released in December 2014. She is currently working on the third. Find her on Facebook, Twitter @AudrinaLane and her website.
My guest this week brings a real blast of the 1980s, with a bright red emphasis on romance (I guess it’s that time of year). She drew on the soundtrack of her adolescent years to create the love-torn characters in her novel, and the heart of the story beats to George Michael, Berlin and Patrick Swayze. She is Audrina Lane and she’ll be here on Wednesday with her Undercover Soundtrack.
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 wartime romance author Davina Blake (who also writes as Deborah Swift @swiftstory)
Soundtrack by Mary Chapin Carpenter, Lena Horne, Kate Bush, George Gershwin, Larry Adler, Alison Moyet, Purcell, Led Zeppelin, Rachmaninoff, Bob Dylan, Mark Knopfler
Music has always been the mirror of my moods, how I am feeling is externalized by the music I play, so it is fortunate that I have eclectic tastes. When writing I prefer silence, but as I type I am aware of the echo of the music from moments before; it still hums inside me, the undertow to what I am writing.
The edge of longing
I need to be able to access certain states in order to write well, and music helps me do this. What I was trying to capture in Past Encounters was a kind of longing – a longing that borders on nostalgia, but is not that sentimental. It is at the edge of things. We have no English word for it, but the German word is sehnsucht. For this novel I was looking for transparency and intimacy, to keep the words simple so you could almost see through them.
I remembered Mary Chapin Carpenter’s John Doe #24 , which does just this, with its simple tune and narrative arc, telling the story of a blind, deaf and dumb man stripped of identity, the ultimate loss, yet still the character haunts us. In Past Encounters Peter becomes a prisoner of war, just a number, so I went back to the track and listened again. In the song, sensory detail becomes enormously important, his toes feeling the streetcar rails underfoot, the scent of jasmine.
Conjuring the past
In the novel both protagonists, Rhoda and her fiancé Peter, mourn the loss of their familiar life to the outbreak of war. I found myself listening to old recordings to conjure the atmosphere of the past. My mother used to love Lena Horne’s The Man I Love (1941), and the crackling of the LP, the sudden silence when it ends, with just the needle bumping round on the record, seemed to say almost as much as the actual music. When I am working I use Youtube to plug myself into the mood of what I am writing, searching out tracks of the era I am working on. Kate Bush’s recording of the same song with Larry Adler on harmonica really spoke to me. The wailing quality of the harmonica seemed to embody Rhoda’s search for the man she loves, which is both Peter, who is missing, and the longing which is somehow not attached to any one man in particular. It is the same longing that makes me want to write, the stretching out towards a feeling I can’t name.
The story is set in WWII, but it is not about heroes. Rhoda’s fiancé Peter spends the whole war in a prisoner of war camp. But what drives the book is his intense friendships with the other men, and the fact that and he and Rhoda survive on memories of each other. Death stalks the captive prisoners and the music I listened to a lot during this phase of writing consisted of elegies to the dead. Alison Moyet’s great natural voice singing Dido’s Lament by Purcell strips away the artifice of opera to make us think nakedly about memory and how we will be remembered.
Writing historical fiction is an awkward relationship between honouring and dishonouring our relationship with the past. Gallows humour is an essential part of survival, both for Peter in the book, and for me as a writer, and I loved the recycling of an old English folk tune in Gallows Pole by Led Zeppelin, especially the ultimate twist, when the hangman (death itself) is hanged on the gallows pole.
I like listening to the layers in music, and Gallows Pole is one piece that repays that sort of listening. That sudden mandolin! I like to pick out individual layers and will often listen over and over to the same piece, following different musical parts. I do this in the novel too; write following different narrative threads. In Past Encounters it is just two, Rhoda and Peter, in my other novels it has been more. When I edit, I do this too, follow different lines of the narrative.
Strangely, although Rhoda’s story is set during the filming of Brief Encounter, I found the Rachmaninoff score too strident and brash for the subtle feeling I needed. The Rachmaninoff score is heavy on the piano. As Nick Cave says, ‘The guitar is something you kind of embrace, and the piano is something you kind of – when you play it, you sort of push it away. It feels very different.’
So the intimacy and loss I was after is there in the guitar of Blind Willie McTell by Bob Dylan. It is a track that was never completed from his album Infidels, and is therefore more poignant because it was almost lost. It is raw and unproduced – you can almost hear a coat button scratching on the top of the guitar as he sings of the loss of not just one blues singer, but of the loss of a whole era of blues singers. Of course really it is Mark Knopfler on guitar, not Dylan, but the impression of one man and a guitar remains. Music is like writing, a world of mirrors and illusion.
Davina Blake also writes seventeenth century novels as Deborah Swift. She lives in the North of England in a small village close to the mountains and the sea, a fact which encourages her to go out and get the fresh air that every writer needs. Past Encounters is her fifth novel, but the first published as an independent author. Tweet her as @swiftstory. Find her on Facebook.
GIVEAWAY Davina is excited to be giving away three ebook copies of Past Encounters to commenters here. Extra entries if you share the post on Twitter, G+, Linked In, Tumblr, Facebook, Ello or anywhere else you frequent. Breathe on a bus window and write it inside a love-heart. Just remember to say in your comment here that you’ve done it!
My guest this week is one of those many writers who values silence – but is keenly aware that music is influencing what comes out on the page. She describes how music acts as a portal, letting her access moods and mental states in order to recreate them faithfully in her fiction. She describes trying to capture a state of longing and nostalgia, but without sentimentality and the soundtrack she shares here is such a treat: a Gershwin cover by Kate Bush; a Purcell lament sung by Alison Moyet. If you follow my show on Surrey Hills Radio you might hear me finding an excuse to give them airplay sometime soon. Anyway, this imaginative guest is wartime romance author Davina Blake (who also writes historical novels as Deborah Swift), and she’ll be here on Wednesday with her Undercover Soundtrack.
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 crime and psychological thriller writer Debbie Bennett @debjbennett
Soundtrack by Alice Cooper, Soul Asylum, Bon Jovi, Skid Row, The Seekers
I always wanted to be musical. I’m sixties-born, but identify most with the 1980s – the era of the New Romantics and the beginnings of computer-generated music, but I always had the hidden desire to be a full-on rock chick with my AC-DC, Whitesnake and Rainbow albums! Yes – I did the whole biker-jacket and leather mini look too (see proof here!). I wanted to play music too, but we didn’t have a piano and it took me four years of compulsory music lessons at school to realise I was never going to get past Chopsticks! My teenage daughter is a talented musician and singer, but I don’t think the genes come down my side of the family.
So I turned my creative impulses to writing – firstly fantasy and more recently crime. My first crime novel was dark. Very dark. Part crime, part psychological thriller, we’re dealing with street drugs and rent boys, but while there are police, the story is told from the point of view of the ordinary people involved. And music plays its part in setting mood and tone.
The hero in Hamelin’s Child is Michael, who we follow through another two books – Paying the Piper and Calling the Tune. Michael goes clubbing to celebrate his seventeenth birthday and meets Eddie, after which life is never going to be the same again. Michael’s journey from middle-class suburban naivety through heroin addiction and out the other side is Alice Cooper’s I Never Cry, particularly when he’s thinking about jumping off a motorway bridge.
They’d all done their best, in their own way, to help him forget the past and he couldn’t blame them for not understanding that he didn’t want to forget. He needed to remember. It was the only way he could make any sense out of it all.’
Sometimes it’s not even the lyrics is it? It’s the mood of the piece – the actual notes in a certain sequence that can instantly transport you to a certain place or time in your life. Or even just an emotion. Synaesthesia, they call it…
Out of control
‘He bought me comics,’
Lee says, referring to the best of his mother’s boyfriends, the man who eventually decided he preferred son to mother, at which point Lee was out on the streets. Runaway Train came out in 1992 (or so my CD case tells me) and it was many, many years later when I found it on Youtube and saw for the first time that the accompanying video is all about missing kids. Strange but true.
In Paying the Piper, we first meet my bad-boy Lenny, who started out as a bit-player but I soon realised was way more involved than I’d first thought. Lenny is Skid Row’s 18 And Life, albeit with a lot more money and a public school education. It’s not until Calling the Tune that we learn of Lenny’s real childhood and he becomes far more ambiguous and complex. Lenny’s story continues into Rat’s Tale and new release Ratline and his music becomes softer and more uncertain as we get inside his head. Now it’s less rock and more Don’t Think Twice, It’s All Right (the Seekers version – way better than Bob Dylan, in my opinion).
I can’t in all honesty say I listen to music while writing, because I find any noise hugely distracting when I’m working (although a playlist on my iPhone is a Godsend in an open-plan office in the day job). But I do find that music fits the mood of the moment when I’m writing and I’ll subconsciously look for and play certain tracks – even if only in my mind.
Debbie Bennett claims to get her inspiration from the day job in law enforcement. She can’t talk about a lot of the stuff she’s seen and done over the years, but it stews and matures in her mind and often comes out in some twisted form in fiction many years later. She’d tell you more, but then she’d have to kill you afterwards. Her website is here and you can find her on Twitter as @debjbennett
My guest this week says she was always secretly a rock chick, and has provided pictorial evidence to prove it. When she turned her creative impulses to writing, music helped create the mood and tone. She writes gritty crime with a heavy dose of psychological thriller, and drew on a aural landscape of Alice Cooper, Soul Asylum, Bon Jovi and Skid Row. She is Debbie Bennett and she’ll be here on Wednesday with her Undercover Soundtrack.