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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’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
Debussy, Emil Krupnik, JS Bach, Leonora Meriel, literary fiction, literary science fiction, Manhattan, music for writing, Rodnya Ensemble, science fiction, Shanson, Sofia Rotaru, speculative fiction, The Undercover Soundtrack, The Unity Game, The Woman Behind the Waterfall, Ukraine, Ukrainian Folk Choir
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 award-winning science fiction author Jake Kerr @jakedfw
Soundtrack by Crosby, Stills and Nash
When I was 10 years old I had two passions in my life: Music and reading. I was never that good at producing music, so I did the next best thing–gathering up all the 45 RPM records I could, stacking them on my cheap plastic phonograph player, grabbing a laundry clip, and then pretending I was a DJ. Similarly, I wasn’t very good at writing, so I would write reviews and commentary about the books I read. I would discuss what I liked about the stories, what the writer did well, and all the things that I didn’t like and how he or she had failed. I would type these up on sheets of paper, staple them together, and then collect them in a drawer.
I wasn’t really a DJ, and I wasn’t really a literary critic. And I definitely wasn’t a musician or a writer.
Such is how dreams are born.
At the age of 27 I was hired to move to Los Angeles to write a column about music and the radio industry. I told all my friends: ‘I’m not really a DJ playing music, and I’m not really a writer or writing about stories, but I have achieved this amazing thing of merging my two dreams into one: I’m writing about music and DJs.’
It took about six years before I realized that this wasn’t really my dream. Music wasn’t something I wanted to do. It was part of who I was. I lived through music, where it would provide me with solace, understanding, and escape. But I didn’t want to actually create it or write about it. I experienced it. It was me. But I needed more from books. I did want to create. I did want to write the books, to tell the stories.
Such is how dreams are formed.
So I live the dream, and I write the stories. But make no mistake: The music is still there. Sometimes it is the soundtrack to what I’m writing, inspiring me even as it sets the tone and attitude of the words forming in my mind. Sometimes it is the source of the scene I’m writing, providing me with raw material that I never would have experienced otherwise. And sometimes it is the story. But the role of music in my dream is always there.
The song is the story
This is happening right now. I am writing a story for the third volume of Hugh Howey and John Joseph Adams’ Apocalypse Triptych. As I began thinking of the story I wanted to write, the song Southern Cross by Crosby, Stills and Nash was playing, and I immediately realized that this particular song was the story. There are lines in that song that are both heartbreaking and yet oddly hopeful. The more I thought about it, the more it integrated with my ideas for this apocalyptic story. It didn’t just set the tone of the story; it was the story.
So I put the song on repeat and started writing. The song, with its gentle rhythms and bittersweet lyrics took me exactly where I wanted to be for my story. The melancholy, the hope, the dream, the freedom—it was all there.
It’s odd. For various rights reasons I couldn’t actually include the song in the story. As a result, no one who reads the story will know of its importance. This is common. For many of us, certainly me, while there is not always this explicit a connection between the music and the words on the page, some kind of connection is always there, and it is powerful. I somehow knew it when I was 10. It just took me many years to understand how to put the pieces together.
After 15 years as a music industry journalist Jake Kerr’s first published story, The Old Equations, was nominated for the Nebula Award from Science Fiction Writers of America and shortlisted for the Theodore Sturgeon and StorySouth Million Writers awards. His stories have subsequently been published in magazines across the world, broadcast in multiple podcasts, and been published in multiple anthologies and year’s best collections. A graduate of Kenyon College, Kerr studied fiction under Ursula K. Le Guin and Peruvian playwright Alonso Alegria. He lives in Dallas, Texas, with his wife and three daughters. His debut novel, Tommy Black and the Staff of Light, an adventure story for teen and pre-teen readers was released in 2014. Find him on Facebook, on his website, find more about Tommy Black here, and tweet him as @jakedfw.
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My guest this week describes a journey – of looking for a life path, of circling around it many times until he found where he was meant to fit. He says he thought he wanted to be a DJ because he loved music, and indeed became a music industry journalist. Then one day he started writing stories – and realised this was how he wanted to use the experiences that music gave him. It was clearly a good move as he has been nominated for the Nebula, the Theodore Sturgeon and StorySouth Million Writers awards. He studied fiction under Ursula K. Le Guin and Peruvian playwright Alonso Alegria and is now contributing to Hugh Howey and John Joseph Adams’s Apocalypse Triptych. He is Jake Kerr and he’ll be here on Wednesday with his Undercover Soundtrack.
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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 debut science fiction novelist Nick Cook @CloudRiders
Soundtrack by Awolnation
Music has woven a fine thread throughout my writing career. Whenever I need to screen out distractions, particularly as I have a love of working in great coffee shops, the earbuds come out and iTunes gets powered up. As the music begins to cast its magical spell, the world around me is reduced to a small perfect bubble containing me, the music and my words. Nothing else exists.
These are the special songs, the ones that for whatever reason touch us so deeply and are somehow so much more than the sum of their notes and lyrics. These are the songs burrow a special place in our hearts. We recognise these songs because we can be minding our own business when it comes on the radio and strikes us with memory lightning. At once we are transported back to a time, place, moment, so vividly painted in our minds that we are actually there again.
That’s the power of music we have all experienced at some point in our lives.
For my day-to-day writing process I learned long ago that music without lyrics is key for me to able to write along to. Why? Otherwise the siren-like call of the lyrics soon overwhelm my own words and I become mesmerised by the songwriter’s thoughts. Not helpful if I’m trying to nail a tricky dialogue sequence.
However, there was one notable exception to my rule when I wrote Cloud Riders. And we’re not just talking about a song here. My attention was first drawn by one of my friends, who contacted me and told me I had to watch a YouTube video he’d discovered because it had Cloud Riders written all over it.
Intrigued, I watched it once, twice…then again and again. Why? Because that song somehow transported me to the world of my own story. It was slightly unnerving at first – it was almost like someone had peered into my mind and created a soundtrack based on what they’d seen. But it wasn’t long before that song quickly became my go-to start to my writing day. When I needed inspiration, I watched it. When I hit a creative slump, I watched it. When I just needed to be transported into my story’s universe, I watched it. You see that song quickly became my creative equivalent to drinking an energy drink for my writing.
A soundtrack to Cloud Riders
Cloud is a fantastical tale, but at it’s heart is a story about the teenager coming to terms with his grief of his dad’s death, discovering who he really is and what matters to him in his life. In other words it’s the universal story about our individual search for the meaning of our lives. Maybe that’s why Cloud Riders has resonated with so many people.
And that’s what I really love about my Undercover Soundtrack and why it has resonated so strongly for me. When I watch the video I sense deep sadness in the protagonist portrayed – that he has given up, literally throwing himself into the eye of a storm – and this is a perfect metaphor for my lead character, Dom, and the journey he’s drawn into in Cloud Riders.
Every time I listen to this song I can feel Dom in those words, responding to their cry to be set loose, trying to make sense of his own life, against a backdrop of an incredible adventure. And for me that’s a magical experience.
Anyone who follows me on Twitter will know I’m a great one for quotes and here’s one that for me summarises both what this song and Cloud Riders is fundamentally about:
Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.’
– Mark Twain
And here it is, Awolnation’s song – Sail. Watch, listen and be transported to the Cloud Riders universe.
Nick has a passion for science and astronomy, often blogging about the latest mind-blowing discoveries made in quantum physics. He once even soloed a light aircraft, an experience he tapped into for Cloud Riders. Not needing any excuse to travel, he recently completed a writing research trip to the volcanic landscape of Iceland for the second book in the Cloud Riders’ trilogy, Breaking Storm. His website is here, and you can contact him on Facebook or Twitter @CloudRiders
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My guest this week represents something of a milestone. When I was new to Twitter I remember stumbling across his tweets and his blog, where he was taking his first steps in building a presence as a science fiction writer. Meanwhile, he was working on his debut novel, and over the months and years I would catch tweets and Facebook updates about rewrites, and his search for an agent and a publisher. That persistence paid off; he found representation and then a deal with Three Hares Publishing. Hosting him here feels like the end of a long journey. He is Nick Cook, the novel is the first in the Cloud Riders series, and he’ll be here on Wednesday with his Undercover Soundtrack.
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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 publishing blogger and novelist David Gaughran @DavidGaughran
Music has always played an integral part of my writing process. I wrote my first book in restaurants, bars and cafes while traveling the world. These days, I can’t work without something playing in the background. Silence can be deafening sometimes.
I write historical fiction, science fiction, and non-fiction, so specific songs and artists don’t often directly inspire the story. But music is essential for setting the appropriate mood.
My latest book Mercenary is an adventure story on the surface – the story of a guy called Lee Christmas, a colour-blind railroad engineer who became the most famous soldier of fortune in the world. What I wasn’t expecting was to find such tragedy in his life. I must somehow gravitate towards bittersweet stories. My endings don’t tend to wrap everything up neatly and can often leave the reader with more questions than answers, or with mixed feelings about the outcome for the protagonist. I guess that’s because I see the world like that too. Even a life filled with highs doesn’t always get a happy ending.
Pleasure and pain
That tension between emotional pleasure and pain is difficult to capture, but it’s a rich seam for novelists to mine and the best songs do it very well. In fact, you could argue a core philosophy of Motown was to do just that. In many of their signature hits the tune was invariably upbeat but the lyrical content was the opposite. For example, in You Keep Me Hanging On some awful character is stringing Diana Ross along – but she’s so much in love with him that she can’t do anything about it; in fact, she’s begging him to end it because she doesn’t have the requisite strength (and all to a stomping beat).
You can see the same powerful dissonance in many other Motown tracks, like Band of Gold by Freda Payne. It wasn’t something that Motown invented, but it was particularly good at it. I think the idea was to reach people on two different levels. Your toes tap the happy beat, but in a more cerebral or subconscious sense you’re processing the pain being described, adding a heady level of emotional resonance to the whole ensemble.
Strength is weakness
I think that kind of contrast can be very powerful and I tried to tap into it with Mercenary. One of the best pieces of creative writing advice I received was that a character’s greatest strength is also their greatest weakness. So if you have a naturally charismatic and impulsive figure like Lee Christmas, you can really flesh them out by exploring the dark side of those traits. Why are they so impulsive? Are they naturally restless? Is there something unresolved in their past?
Bill Withers considered himself a writer first and a performer second, which you can hear him speak about that in this BBC Archive footage from 1973 before an amazing live version of Grandma’s Hands. I think that the emotional power that Withers conveys comes from the conflict between the pleasure of his memory and the pain that he can never sing this for her.
The song is also authentic. I hate bland bilge-fests like American Idol for innumerable reasons, but primarily because I don’t feel anything when these people perform. When Bessie Smith sings Gimme A Pigfoot (And A Bottle of Beer), or Nina Simone despairs in Mississippi Goddam, or Bobby Gentry pours out her Ode To Billy Joe it makes my arms tingle because they mean it. They’ve lived it.
Dave Van Ronk never sold that many records but we will still be listening to Cocaine in 50 years time, instead of all those vapid ballads from reality show winners that sell millions in a few months before being forgotten forever. And that’s what we’re all doing this for, right? We’re all raging against the dying of the light. We’re all trying to leave our mark on the world, to reach people, to affect them, to tell stories that will be remembered long after we’re gone.
One of my favorite parts of Game of Thrones is when characters are heading into battle – or waiting to be executed – and express hope they will be immortalised in song. There’s no doubt this was an important function of music in a world before photographs and obituaries. And we can see remnants of that urge to immortalise in classic folk like Sixteen Tons, ballads like The Band Played Waltzing Matilda, and even more modern songs like Free Nelson Mandela.
Music can help us achieve this authenticity and emotional resonance in our own work. I listened to Dylan’s Romance in Durango a lot when writing Mercenary. It was perfect for setting the mood for the many scenes where Lee Christmas drank and brawled and flirted in Honduran cantinas. When trying to describe how Lee looked back on his life and was overcome with regret, I had Johnny Cash’s cover of I Hung My Head in the background.
Novelists have so much space to play with that they often try and squeeze in too much. But the more visceral power of music shows us that, sometimes, what you leave out is even more important.
We have this huge canvas – 400 pages where we try and make the reader feel something by the end. But the economy that great songwriters practice is astounding – they can break someone’s heart in three minutes flat, all while trying to shape their narrative around a tune!
Sometimes I feel like I’m trying to balance a spoon on my nose while they’re juggling chainsaws.
David Gaughran is an Irish author, living in Prague, who spends most of his time traveling the world, collecting stories. You can see his books on Amazon here, his blog is here, and you can follow him on Twitter here. Mercenary is out now, and you can sign up to his mailing list here to get an email when it’s out.
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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 the winner of the 2013 Amazon Breakthrough Novel Award (ABNA), Rysa Walker @RysaWalker
I write in a house with two frequently noisy kids and a dog that seems to have missed the memo about golden retrievers being a quiet breed. Music is my writing cave in the midst of that chaos. I have several carefully trained Pandora channels that keep me supplied with background music, either instrumentals or songs with lyrics I know so well that they cannot possibly distract me. Instrumental covers of indie rock songs, by groups like The Section Quartet, along with albums I know by heart, like One Man’s Trash by now-defunct 1990s band The Jody Grind — these are the tunes that keep me company on days when I’m editing or revising. While I don’t exactly hate those tasks, they are often tedious and if presented with any plausible excuse, my mind will stray. If I listen to anything with lyrics I don’t know, a phrase will catch my ear, then I have to google it, and then I click on something else that’s bright and shiny. Several hours later, I’m shaking my head trying to figure out where the time went.
On days when I need to actually create something new, however, music isn’t just a cave that shuts out the world. On those days, music is my TARDIS. The right song can evoke memories of events and emotions from my own past, and even take me to times and places I could never actually visit and that’s a vital tool when you write about time traveling historians. Sometimes I use period music to help set the mood while I’m writing, but songs from the era also shine light on the customs, social issues, and pop culture of an era, so it’s always part of my research.
The last third of Timebound, the first book in my Chronos Files series, is set at the 1893 Columbian Exposition, also known as the Chicago World’s Fair. The Expo was home to the first Ferris wheel, which stood 264 feet high and could carry 60 people in each of the 36 passenger cars. One of those cars was set aside to carry a full band that played songs like Sousa’s Gladiator March as the wheel rotated. A bit farther down the Midway, a Broadway producer named Sol Bloom picked out this iconic tune while an exotic dancer billed as Little Egypt prepared to go on stage. Visitors to the Exposition and the cafes surrounding the fair were also witness to the early work of ragtime great Scott Joplin, whose Maple Leaf Rag would take the world by storm a few years later. A few recordings from the early 1890s are available online, like this very early rendition of Daisy, Daisy, but they’re all rather hard on the ears, so I relied heavily on covers by later artists. I won’t claim that any of those songs from the 1890s is in heavy rotation on my iPod, but they definitely helped me get a feel for the era.
Music is also vital for helping me manage another type of time travel. Timebound is written from the perspective of Kate, who is 17. When I was 17, many moons ago, I existed on a steady diet of pop music and could name every song in the Top 40 most weeks. Thankfully, Kate is not autobiographical. She’s more inclined toward indie artists. This is a very good thing, because otherwise I don’t think we could hang out together. If I’m writing about Kate’s everyday life — school, friends, family — tunes by The Fratellis, Vampire Weekend, and The Shins help me climb inside her head.
There’s one last song I have to mention because I play it every few days—Borrowed Time by A Fine Frenzy. I stumbled upon her album One Cell in the Sea when I was writing the second draft of Timebound, back when it was still called Time’s Twisted Arrow. I love the entire album, but I’m deeply in debt to her for this particular song. The voice, the lyrics and the music all combine magically to pull me into Kate’s reality every time I play Borrowed Time.
Rysa Walker is the author of Timebound, the first book in The Chronos Files series. She grew up on a cattle ranch in the Deep South where the options for entertainment were talking to cows and reading books. On the rare occasion that she gained control of the television, she watched Star Trek and imagined living in the future, on distant planets, or at least in a town big enough to have a stop light. When not writing, she teaches history and government in North Carolina, where she shares an office with her husband, who heroically pays the mortgage each month, and a golden retriever named Lucy. She still doesn’t get control of the TV very often, thanks to two sports-obsessed kids. Find her website here, find the Chronos Files blog here, and connect with her on Facebook and Twitter (@RysaWalker).
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I am so delighted my guest this week writes to music. She’s the winner of the 2013 Amazon Breakthrough Novel Award (ABNA) with a story of genetically enabled time travel, death threats and romance. She says music is her writing cave and time machine, shutting out the modern chaos of family life, rewinding her to times in her own past and conjuring up periods like the 1893 Columbian Exposition. She is Rysa Walker and she’ll be here on Wednesday with the Undercover Soundtrack to Timebound.
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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 debut science fiction novelist Chele Cooke @CheleCooke
There is a theory that you will never connect more to music than you did as a middle teenager, around age 14 to 16. The theory is that the music we listened to at that age will be the music we always come back to. I don’t know if it’s true for everyone, but it is true for me, and it’s definitely true for writing my first novel, Dead and Buryd.
I’m very particular when it comes to having music on while writing. It has to music I know by heart, otherwise it distracts me. Even when I’m writing in a new place, having something so familiar around me is comforting.
I was about 14 when I began writing in earnest, and at that time, I had just begun listening to Mad Season by Matchbox Twenty. To this day, it is my favourite album. Matchbox Twenty speaks to me in a way no other artist has managed, both with their interesting melodies and their emotion-catching lyrics. I carried that CD with me everywhere, listened to it every day for a month. Still, a month does not go by where I don’t listen to it at least once, and mostly, while I’m writing.
This album lifts me, and as cliché as it sounds, makes me believe that anything is possible. The Technicolour dreams of Black and White People, speaks to exactly that. From the first twang of a chord, I feel happier, and I feel more productive. It’s a song about music lifting you and clearing your head, about how life gets you down but your dreams are far more beautiful than the drab life sometimes handed to us. It is exactly how I feel about my writing. Writing Dead and Buryd is like stepping into that technicolour dream, and each time I listen, this song reminds me of that.
There is a certain element of grunge in Out of Orbit, of which Dead and Buryd is the first instalment. The story revolves around a revolution on a planet with a very hostile environment. There are parts that are gritty and dirty, and nothing is as simple as you’d like it to be. Nothing gets me in mood to write those grungy scenes like Nickelback, another band I listened to as a teenager. These days, it’s their later albums, Dark Horse and Here and Now. The first song of Here and Now, This Means War, is perfect for my characters and plot. The characters are fighting impossible odds and are technologically inferior to their enemy. This Means War really calls out that fire in the characters, knowing that they’ll probably lose, but going at it with all they have anyway.
As a writer, descriptions are very important to me. Getting the right level description in a story brings it alive, and sometimes a few choice words can be better than entire paragraphs. John Mayer is a talented artist who has an incredible affinity for words. He paints entire scenes in a few short lines. This song, 3×5, is from the album Room for Squares. The song is about not wanting to take photographs because he wants to experience the world fully instead of behind a lens. Instead, in writing a letter, he describes the things he is seeing.
In this song Mayer really speaks to my mantra on writing. I have to describe the stories I’ve thought of because I can’t take photographs of them and hand them out. No piece of art will ever truly capture the images in my head, and so I have to describe them instead.
I often listen to John Mayer while editing. I remember that my audience needs to be able to see what I’m thinking. Mayer’s music reminds me just how much you can do. If he can do it in a three-minute song, I can certainly manage it in a novel.
Chele Cooke is the author of Dead and Buryd of the Out of Orbit sci-fi series, which she describes as grungy, character focused, and accessible to readers who don’t usually pick up the genre. Living in London, Chele often dreams that she’s back in San Francisco, where she spent many of her teenage years. Aside from writing, Chele loves immersing herself in television shows, movies, music, cross-stitching, knitting, travelling, and cheese jokes. You can find more about Chele at her website, http://chelecooke.com, on Twitter, Facebook, and Goodreads.
authors, Chele Cooke, Dead and Buryd, description, Desert Island Discs, drama, entertainment, fantasy, grunge, hostile planets, how to write description, John Mayer, Matchbox Twenty, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Nickelback, Out of Orbit, playlist for writers, Roz Morris, science fiction, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music
On the Purple Blog this week there’s a science fiction flavour to my post. And my guest here will continue the theme with the music that helped her write her debut, also sci-fi. She says she uses music to create a consistent space to sink into a book, and for this is must be music she knows by heart. She draws on tracks that have been favourites since she was a teenager because they still make her believe anything is possible – which is a rather excellent way to start the creative day. She is Chele Cooke and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, Chele Cooke, Desert Island Discs, drama, entertainment, fantasy, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, science fiction, teenage songs, teenage years, The Undercover Soundtrack, undercover soundtrack, Women Writers, 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 2011-2017. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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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'