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The Undercover Soundtrack is a series where I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest might be familiar to you; she’s been here before as Sanjida O’Connell @SanjidaOConnell. She’s turned her hand to thrillers for her latest release and is wearing a new writing persona, Sanjida Kay
Soundtrack by David Gray, Coldplay, The Choir of Young Believers, Massive Attack, Faithless, Sandi Thom
What would you do if you found out that your child was being bullied? Laura, newly divorced and relocated to Bristol, learns that her nine-year-old daughter, Autumn, is being bullied at her primary school. When no one takes Laura seriously, she tries to protect Autumn from the bully – and makes the situation much, much worse. This is the start of my first psychological thriller, Bone by Bone. The story is told from the point of view of the mother, Laura, as well as her daughter.
I found getting into Autumn’s head the hardest part of the process. After all, it’s a long time since I was nine! I wanted to get across what it felt like to be nine as well as the change that being bullied can wreak on a person’s character. Autumn is a shy, sweet child. She loves painting, misses her best friend, Cleo, and likes Mozart and ‘Bark’.
Listening to classical music and looking at Giacomettis didn’t help me understand what it felt like to be Autumn. I started playing Sandi Thom’s I wish I was a punk rocker. Autumn, a slightly other-worldly child, is certainly not a punk rocker – in exactly the same way that Thom sings about punk with the nostalgia of one who never experienced its raw anarchy; aching for a world that never was, whilst wearing flowers in her hair.
Laura, Autumn’s mother, is also shy and introverted. She lacks confidence and is vulnerable and isolated, yet, like any parent, loves her daughter with all her heart.
When Autumn was born, it was as if she recognized her, as if she’d always known that it would be her, this little person who had come to live with her and reside permanently in her heart. It was a love unlike any other: fierce and powerful.
The song that most helped me get into this zone was The one I love by David Gray with its notes of hope and fear.
Because of Laura’s personality and circumstances, she feels powerless to put a stop to some of the terrible events happening to her and Autumn. But at some point in the novel, she needs to overcome her lack of confidence and find inner strength. One of the triggers for this shift was inspired by a Coldplay song, Viva la Vida; a heart-heavy march of reluctant triumphalism.
Bone by Bone is set in Bristol where I live. What I wanted to capture was the juxtaposition of the city as gritty, grafitti-ridden yet woven through with green spaces like The Downs and Narroways, the urban nature reserve where much of the action takes place.
Bristol is a vibrant, culturally-rich and ethnically- diverse place to live; it’s also riven with divisions between classes and races, rich and poor, and I wanted to imbibe the novel with that edginess. The tracks I chose that summed up what Bristol means to me for the purpose of writing are by Bristolian bands, Massive Attack, Safe from Harm and Insomnia by Tricky of Faithless. Safe from Harm seems to embody that uneasiness, its melodic voice and hopefulness undercut with darkness; this track combined with the restlessness of Insomnia were perfect for what I was trying to do with Bone by Bone: create a relentless ratcheting up of tension.
Bone by Bone is set over a period of ten days, covering Halloween and Bonfire Night. It’s grey, cold, icy: I wanted to develop an atmosphere that was taut, tense, sinister. To get me in the right frame of mind, particularly on days when the sky was bright blue and sunshine flooded my office, I would listen to this lyrical, haunting and disturbing single – Hollow Talk by The Choir of Young Believers – now made famous by The Bridge.
The lines began to sing, a shrill, electric song, and then the cacophony of the train roared out of the darkness. The carriages were almost empty and painfully bright as they hurtled along the tracks to the heart of the city. In the fleeting light she saw the meadow, dotted with stunted hawthorns, their twisted limbs dense with red berries, and then a shape: achingly familiar, child-sized, shockingly still.
authors at work, Bristol, bullying, Coldplay, creative process, David Gray, Faithless, female protagonists, Massive Attack, music for writers, music for writing fiction, psychological thriller, punk, Sandi Thom, Sanjida Kay/Sanjida O'Connell, suspense, The Bridge, The Choir of Young Believers, The Undercover Soundtrack, thriller, 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 my guest is author and creative evangelist Trevor Richardson @theSubtopian
Soundtrack by Bob Dylan, Tom Waits, Hank Williams, Bruce Springsteen, The Drive-By Truckers, Deer Tick, Jay Calhoun, Press Black, David Rovics, Cartright, Beatles
All I ever wanted was to be Bob Dylan. Only one problem: I don’t have a musical bone in my body. Writing about music is the closest I have come and it’s worked for me.
My novel, Dystopia Boy: The Unauthorized Files, follows a folk-punk protest singer through a collapsing American economy in the not-too-distant future. Joe Blake and his best friend, Lee Green, front man for their band The Johnny High-Fives, travel the country, playing to tent cities and hobo encampments and earn a fair living. The songs from The Johnny High-Fives included in the book were a combination of original lyrics that I wrote and the songs of various friends I have made during my own travels.
On my own, I wrote lyrics for three songs, Corporate Hun, Protest Nation, inspired by the spoken word riffs of Tom Waits, and Puking Blue that came from absorbing a lot of the post-Yellow Submarine era Beatles songs and ballads from newer bands like Deer Tick and The Drive-By Truckers.
My search for The Johnny-High Fives’ style led to me listening to four songs at once while drinking a fair amount of coffee. On my record player was Springsteen’s Born in the USA, my PS3 was playing the Bob Dylan documentary No Direction Home, and my laptop had two windows open that blasted Tom Waits’s Rain Dogs and Deer Tick’s War Elephant. I was looking for a connective tissue between these different sounds. The noise finally peaked, like that rare moment when you are sitting at a traffic light and your blinker momentarily syncs with the blinker of the car ahead of you. That was when I wrote it.
Gather round, you Corporate Huns, I’ll show you the death of your future sons.
The words just flowed from there and I had found how I wanted The Johnny High-Fives to sound: a hybridisation of folk and punk. I first encountered this sound while living in Denton, Texas, with an old friend who had a band called Cartright. Cartright had this dirty, gritty vibe like The Ramones, Bob Dylan, and Thelonious Monk poured their collective DNA into a whiskey bottle and shook.
Interestingly enough, the band’s name, The Johnny High-Fives, actually came from a night with the Cartright boys. Ben, the band’s leader, and some other guys were trying to determine the name of their new band. At the time, Ben was going by the pseudonym Ben Cartright, and they had been using that same moniker as their band name as a kind of placeholder, but Ben thought they needed something flashier.
As we sat around tossing out random combinations of words and phrases, this guy named John started adding ‘high fives’ to everything that was said.
It was pretty funny and, when it came time to name my band, the only voice I heard was John and his ‘high fives’. There it was, The Johnny High-Fives. Incidentally, Cartright wound up remaining Cartright, and they’re still performing to this day.
Then there was this trip to New York I took with my brother, Kevin, and my friend Jay Calhoun. We had only known each other a couple of months at the time, but Jay needed to get to Omaha from Texas for a gig and Kevin and I needed some extra cash for the road. We agreed to drive Jay to Omaha if he could help pay for gas.
Jay and I were both smokers but Kevin was not. It was Kevin’s car and he didn’t want it to stink of smoke, so we wound up smoking outside while he waited in the car.
A peak moment in my friendship with Jay came when Kevin shouted from inside the car, ‘Will you guys hurry up? If it weren’t for you I could be in New York by now.’
Realizing that if either of us had been the only smoker on this trip, things might have been very different, Jay said, ‘I’m glad you smoke…’
I started to say something generic like, ‘Yeah,’ but Jay shouts, ‘Cause I wanna see you die!’
That became the joke of the trip, eventually even bringing Kevin into it. Some years later, Jay sent me a new song of his which he had called Smoke or I Wanna See You Die. This, of course, had to be added to the repertoire of The Johnny High-Fives and Jay wholeheartedly agreed.
Through my wife, Erin, who was my girlfriend at the time, I met a young Maryland guitar player named Cody Finkner. His old band, Press Black, had a tune inspired by the movie They Live. I went and watched the movie, referenced Roddy Piper’s famous improv line ‘I am here to chew bubblegum and kick ass…and I’m all out of bubblegum’ in Dystopia Boy, and asked Cody if I could include They Live as a Johnny High-Fives song and he happily accepted.
After I got published by Montag Press, my editor asked me if I was familiar with the music of David Rovics, a Portland folk singer. David and I exchanged a few emails and I included Rovics’ song Strike a Blow Against the Empire in the novel.
Music also helps me get ideas.
When I listen to Tom Waits I can feel my own brain chemistry changing. I see reality through the purple smoke of a post-Apocalyptic carnival. I feel the vibrations of my surroundings coming together like a vivid dream, both exciting and uncomfortable, and suddenly I just have to write.
Listening to Bob Dylan is like talking to a mentor. When I put on a Dylan track, I almost always wind up with a piece of writing. While listening to Blood on the Tracks, I became obsessed with the song Lily, Rosemary, and the Jack of Hearts. I knew there was something in there to be sussed out, but I couldn’t quite find it. Then I noticed a little moment where Lily takes her dress off and hides it away. It wasn’t much, but there was something about the gentleness in it that led to Joe and his childhood crush, Audrey, having a pretend wedding that gets broken up by Audrey’s overprotective father. Afterward, Audrey takes the night shirt she wore as her wedding dress, folds it neatly and tucks it in the bottom of her toy chest where it would remain for years.
Another song, Tangled Up in Blue, has a verse where a guy meets a girl in a topless place which inspired me to write Joe’s encounter with Audrey at a Portland strip club later in the story.
The Hank Williams song Lost Highway also became a refrain through one of Joe’s recurring dreams. The biblical imagery of the song meshed so perfectly that the dream became the Lost Highway itself.
Adding it all together makes me realize I can’t be Bob Dylan, but somewhere between the darkness of old country, the poetry of folk, and the spirit of rock and roll I found an intersection. That is where I find my stories.
Trevor D. Richardson is the founder of The Subtopian, a regular writer and editor for the magazine, and the author of American Bastards, Honeysuckle & Irony, and Dystopia Boy. A west coast man by birth, Trevor was brought up in Texas and has since ventured back west and put down roots in Portland, Oregon. He has devoted his writing career to helping others find success by forming friendships and working relationships with other writers and artists. Trevor looks for ways to reach across media to other types of creative people to find that place where music, visual art, and literature intersect and is dedicated to creating a new market where new voices can thrive without sacrificing quality or principles. Find him on Facebook, on Twitter @theSubtopian and on his website.
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My guest this week describes his novel’s main character as a folk-punk protest singer in a collapsing American economy in the near future. We all know how books can transform us into the characters we are creating, and my guest temporarily became a songwriter as this book was forming, despite being (as he says) completely unmusical in real life. Alongside the prose, he built a portfolio of the main character’s songs that marked the story’s adventures and friendships. Some were inspired by musically accomplished friends; others by playing Tom Waits, Deer Tick and Bob Dylan to keep the vibe. When his publisher, Montag Press, came on board, the editor suggested more musicians for the creative mix – thus proving his views of the novel were in harmony with those of the writer. Trevor Richardson will be here on Wednesday with his Undercover Soundtrack.
America, authors, Bob Dylan, Deer Tick, Desert Island Discs, drama, dystopia, Dystopia Boy: The Unauthorized Files, entertainment, folk, folk-punk, main character, male writers, Montag Press, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, near-future, playlist for writers, post-apocalyptic, protest singer, protest songs, punk, Roz Morris, The Undercover Soundtrack, Tom Waits, Trevor Richardson, undercover soundtrack, writers, writing, writing to music
- The Undercover Soundtrack is a series where writers - and occasionally other arty folk - reveal how music shapes their work.
- It began as a companion to my first novel, My Memories of a Future Life, and now thrives as a creative salon in its own right. Pull on your headphones and join us.
- If you're curious about the novel that started it all, click the image below.
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011-2022. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
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- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'