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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 media doctor and award-winning writer Carol Cooper @DrCarolCooper
While music isn’t always playing while I write, I sometimes need it to get into the right frame of mind to face a blank page. For me, The Beatles are creative Viagra. Sergeant Pepper’s Lonely Hearts Club Band isn’t my favourite album, but its invigorating opening track makes it the one I find most conducive to spilling out words. Though Taxman from Revolver is pretty damn good. Then there’s Back in the USSR from the White Album and Come Together on Abbey Road… OK, so the Fab Four were pretty hot at opening tracks, and they followed up pretty well too.
Some music evokes specific characters in my novel One Night at the Jacaranda. Geoff, Laure, Sanjay and the others are in their mid-to-late-30s so they’d be very familiar with the Red Hot Chili Peppers. Preoccupied with his own cancer, Sanjay enjoys listening to artistes who are dead (like Hillel Slovak from the Chilis).
They found a taxi. Geoff glanced at Laure in the half-light. Her face was hard to read, but her warm fingers were interlinked with his. Unprompted, the driver ranted about immigration, or possibly lenient judges. Geoff lost the thread halfway through, but the gist was that the cabbie thought the country was going to hell in a handcart, and everything the government did was tantamount to throwing away all they’d ever fought for during two world wars.
Anything is possible
I find the Chilis incredibly alive, and love them for their offbeat rhythm and their beautifully bonkers lyrics where anything is possible. My favourite album is By the Way. No wonder I found my novel taking strange new directions. The characters did things I hadn’t intended, like jumping into bed with people they shouldn’t. Sanjay’s cancer didn’t progress quite how I’d foreseen either, though maybe as a doctor I should be used to that.
As can happen when visiting Cuba, I felt totally immersed in music, especially son, on a trip to Havana a few years ago. There was live music on almost every corner of Habana Vieja. Many artists have recorded El Cuarto de Tula, but the late Compay Segundo’s version is my favourite. The tune is catchy and the lyrics suggestive. It’s a song is about a young woman’s bedroom being on fire, and it makes a great spur to writing sizzling sex scenes.
Geoff squeezed Laure’s hand experimentally. She squeezed back. He closed in for a kiss as the cab went over a speed bump. They kissed at length as the cabbie went on about not trusting any politician as far as he could spit.
Sometimes lyrics get in way of finding the right words, and I might need an instrumental piece. Rodrigo’s Concierto de Aranjuez is one of my favourites. Evocative and imaginative, it never fails to put me in the mood for writing. My soundtrack includes a John Williams rendition, but I’ve recently heard the young Montenegrin guitarist Miloš Karadaglić and I can’t wait for his interpretation on his new album Aranjuez. While I’m no expert in classical music, I’ve never known anyone make a guitar sing as he does. Sheer magic.
For those that don’t know, qawwali is the musical version of devotional poetry practised in Sufi Islam. The beat is endless and hypnotic, the lyrics ethereal and repeated. Although the characters in One Night at the Jacaranda aren’t particularly religious – and after all this is a novel about dating – they do have a basic creed which I think qawwali eloquently captures. Nusrat Fateh Ali Khan is said to be the king of qawwali. Listening to his album Rapture helps unpeel their spiritual layers of my characters, and imbue them with just the right amount of faith and hope.
As a student, Carol Cooper used to write music reviews, which got her into the best gigs in Cambridge. Carol is now a family doctor in London and a journalist for The Sun newspaper. Her latest book One Night at the Jacaranda is a raunchy romantic novel with a heart-rending medical strand. It comes after a string of non-fiction health titles and an award-winning textbook of medicine, co-authored with colleagues from Imperial College Medical School where she teaches. She is now working on a sequel to her novel, taking some of her favourite characters into new territory. Her blog is Pills and Pillow-Talk and she’s on Twitter as @DrCarolCooper.
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I’ve long suspected that the music writers use for work is not necessarily their favourite listening. My guest this week supports this theory. She says music is her creative Viagra, but that her choices sometimes surprise her – thus confirming for me that Undercover Soundtracks belong to a separate department in the mind. She describes her work as raunchy romance with a heartrending medical strand – she is also a doctor and the author of several health books, as well as a journalist for The Sun newspaper. Her musical colleagues include The Beatles, the BBC proms and Nusrat Fateh Ali Khan. Carol Cooper will be here on Wednesday with her Undercover Soundtrack.
PS Do I dare put Viagra in the tags for this post?
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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 bestselling romantic novelist Fiona Walker @fionawalkeruk
If I know I’m not going to be overheard, I sing – in the bath, on long dog walks, and when writing, or more realistically the thinking pauses between writing. This habitual distraction is also creative inspiration. It’s no coincidence that characters sing in many of my books, from my first novel French Relations in which dinner party guests gather around a piano to perform Eric Clapton’s Wonderful Tonight, to my twelfth novel The Love Letter, where my heroine inadvertently finds herself duetting an old Bo Diddley number with her ex boyfriend in the local pub. That song, You Can’t Judge A Book By Its Cover, is a joyful riot of old-time rhythm and blues that also feeds into the themes of a novel in which characters are not as they first appear, most especially a reclusive writer who hides his identity behind a pen name.
As a romantic novelist with a reputation for raunchy romps, I appreciate Bo Diddley is a far cry from a power ballad, but I once bought The Greatest Love Songs In The World…Ever to listen to when writing passionate scenes – much to my husband’s hilarity – and it was the most awful backing track from which to seek inspiration, like writing on the dance-floor at an over-40s singles night. Most of the music I listen to when I write is white noise, and if I’m on a roll I don’t notice it at all, until that one song sticks, and that’s when inspiration strikes.
When a song connects with a book’s plot, I often play it – and sing it – day and night, and it occasionally even gets woven into the text. This means that I have to be very careful what I listen to when writing. It once cost me almost as much as a new car to gain permission to quote six lines of a Jim Steinman track that I couldn’t get out of my head, after which I not only stopped featuring heroines who were Meatloaf fans, but also monitored my listening habits and now tailor them to each book. I keep a limited number of CDs ripped to my computer, so if I’m not listening to the radio, I’m going through the same albums on a loop, many of them instrumental. The energetic Brazilian guitarist/percussion combo Rodrigo y Gabriela fuelled the first draft of The Love Letter; the sultry Gotan Project added tempo; saxophonist Jan Garbarek injected cool, and I played endless Mozart for jollity and Bach for comfort.
When the rough plot of The Love Letter was in place, that tailor-made compilation changed to vintage Kate Bush, Stravinsky’s Firebird Suite, Bjork and Birdy, all inspiring the book’s larger than life characters, comic melodrama and coastal setting, as well as a very long, flirty seduction in a fairytale tower. Yet it was when googling something entirely unconnected that I found the Bo Diddley song that fitted the story so well that I couldn’t stop playing it.
If I hit upon a theme-tune for a plot or its characters, I know I have a secret entrance into the book, and although the album or song itself may never appear on the page, you can guarantee I’ve listened to it hundreds of times when writing certain scenes. One of my novels was written whilst listening to Damien Rice almost non-stop, another to Alison Krauss – and when a romantic hero who always made me think of Christy Moore’s Ride On featured in a sequel 10 years after his first appearance, I only had to listen to the song to find him coming to life again. Although many of these songs get honourable mentions in the books, only the very special few are performed by me and my characters; You Can’t Judge A Book By Its Cover is still being sung loudly in Worcestershire.
Fiona Walker became a best-selling novelist in her 20s and her books have sold over two million copies worldwide to date. Dubbed ‘The Jilly Cooper of the Cosmo generation’ she is renowned for her large casts, addictive plots and sharp wit. She lives in rural Worcestershire with her partner Sam who is a dressage trainer and their two daughters. Her twelfth novel, The Love Letter, is published by Sphere.Find her on her blog and on Twitter @FionaWalkeruk
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My guest this week is a multi-bestselling author of romantic novels, once dubbed ‘The Jilly Cooper of the Cosmo generation’. Her characters frequently express themselves with a lusty song or two and she writes to a soundtrack that never appears on the page. But, as you see from the post title, there are some choices that are not as suitable as you’d think… She’s Fiona Walker and she’ll be here sharing her Undercover Soundtrack on Wednesday
- 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 2011-2020. 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'