Posts Tagged Seal
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 MG/YA novelist and vignettist Theresa Milstein @theresamilstein
Soundtrack by Coldplay, Madonna, Seal, Nik Kershaw, the Smiths, the Smashing Pumpkins, the Cure, Colin Hay, Seatbelts, Arcade Fire
My new collection of vignettes, Time & Circumstance, was written over the span of five years, so many songs influenced its creation. I honored this connection when I named the two sections of the book. The first section, filled with prose pieces, Tempo Adagio, evokes a slower pace. The second section, filled with poetry, Tempo Allegro, evokes a brisk pace. I couldn’t imagine this collection coming together without musical influence.
Coldplay’s song Violet Hill inspired my early flash fiction piece Violet’s Hill. The darker sound and the first lyrics about a bleak December and his plea during the melody set the right mood for the story of unrequited love. I originally wrote the piece for an anthology, 100 RPM: 100 Stories Inspired by Music.
For the short story Injustices, a stalker is watching a woman dancing in the apartment across the alley as he imagines her listening to Madonna. I heard the song Like a Prayer because it has the right tempo for someone getting ready for work in the morning. Although it’s different than the music I usually listen to, the song helped me pictured the scene more vividly.
When I wrote the story Left-Behind about death and Birthday about a miscarriage I experienced, I listened to Seal’s 1994 album, especially the song, Don’t Cry. A few songs are about mourning, which helped me deal with the feelings of loss.
The poem 1986 brought back my days as a punk girl hanging in New York City. Because I mention the movie Pretty in Pink, I thought about the soundtrack’s influence on me. Two songs from the soundtrack I especially connected with are Wouldn’t it Be Good by Nik Kershaw and Please Please Please Let Me Get What I Want by The Smiths. I was an angst-ridden teen.
Steam Punk is about a caustic relationship. To get in the mood for that, I listened to one of my favorite songs, A Forest by The Cure because of the strong beat and mood.
I recalled my first years of marriage when I wrote First Apartment. Grunge was big then, and I especially loved Smashing Pumpkins. Their album Mellon Collie and the Infinite Sadness played when I wrote it. My favorite song from that album is 1979. It was a coming of age into adolescence song for songwriter and singer, Billy Corgan, and here I am using it as a coming of age into adulthood song for me in the 90s. We’re both experiencing nostalgia.
I actually credit the song Waiting for My Real Life to Begin by Colin Hay for the Revision poem, which humorously portrays writer’s block. In a moment when I was feeling particularly down about my work and thought I’d never become published, I listened to his song over and over.
The song Measure is about my son practising his sax. When he joined jazz band, he always warmed up with the same tune. One day, it struck me how much he’d improved. The song started as an intrusion into our home, and then became pleasant background. When he goes off to college, I will miss it. I don’t have a clip of him practising, but I do have Tank by the Seatbelts.
The last song in the collection that inspired me was The Suburbs by Arcade Fire from the album The Suburbs for the poem Boundaries. I wrote it in response to the hateful political rhetoric I’d been hearing to contrast it with my experience working with immigrant children in a school and also compared it with my children’s experience living in a suburb. For me, the song symbolizes the destruction of the west. It became the perfect background for the feelings I needed to express.
The back cover of Time & Circumstance states: ‘the unrelenting passage of time connects the vignettes’. Reviewing my song choices as a soundtrack, I have a strong sense of nostalgia tying the collection together. It was nice to relive some of my favorite teen songs when writing some of these pieces. I also appreciate the tone of the songs reflecting the many poignant moments throughout the collection.
Theresa Milstein writes middle grade and YA, but poetry is her secret passion. Her vignette collection, Time & Circumstance, is published by Vine Leaves Press. She lives near Boston Massachusetts with her husband, two children, a dog-like cat, and a cat-like dog. For her day job, she works as a special education teacher in a public school, which gives her ample opportunity to observe teens and tweens in their natural habitat. Find her website here, contact her on Facebook, or tweet her @theresamilstein.
The Undercover Soundtrack is a weekly series by writers who use music as part of their creative process – special pieces that have revealed a character to them, or populated a mysterious place, or enlarged a pivotal moment. This week’s post is by author and journalist Jennie Coughlin @jenniecoughlin
It was almost 15 years ago, as a rookie reporter, that I discovered Simon and Garfunkel’s The Boxer made the words flow on deadline. Even today, when I’m on deadline for my fiction writing I’ll put it on repeat on my iPod.
Music has always been part of my writing toolkit. Since I first joined my parish’s children’s choir in third grade, music has been something I use to connect more deeply in many aspects of my life. When it comes to writing, it’s probably the second most-useful tool in my toolbox.
For the rhythm
Music is versatile. Sometimes I’ll use it for the rhythm, because that taps into the part of my brain that lets the words flow. The Boxer is my go-to song for this, but while drafting the novel I’m in rewrites on, I found Seal’s Amazing helped one day when I was stuck. Greg Laswell’s Off I Go falls into this category, too. My sister maintains that if I were a kid today, I’d be diagnosed with Asperger’s, and this is one of those instances where I agree with her — when I’m using music for its rhythm, I’ll put it on repeat, sometimes for hours if that’s how long I’m writing. I call it my brain’s musical marinade.
I don’t just use repeat for rhythm, either. The revisions I’m working on now involve a lot of tension-building, and I’ve had Brian Kirk’s Vance’s Dossier from the NCIS Score album on repeat. It’s one of the few occasions I’ll use a completely instrumental piece. Probably because of my background in singing, I tend to choose my writing playlist based on song lyrics. But Vance’s Dossier has that creepy “something’s not right” feel I’m trying to thread through the story I’m telling.
It’s a contrast to what I consider my theme song for Exeter, the small town where my series is set: Lady Antebellum’s Hello World. You can see it in the opening of my short story collection Thrown Out: Stories from Exeter as Riordan sits on the porch, enjoying a quiet late summer day. And then a different side later in the book when newcomer Chris has to decide if he can trust people in Exeter not to hurt him in the “broken, like I’m never gonna heal” line:
Joe was still running his mouth as he stood a few feet down the third base line, waiting for a chance to score, but Dan seemed to be ignoring him. Chris felt the tension ease from his shoulders that the impending fight had been so easily defused.
Chris rubbed his hand over the scar on his arm. He was suddenly glad there was no alcohol allowed on school grounds, that the scent of stale beer was only in his head. He pressed his hand onto the warm bleacher, the ridged metal as far from chipped brick as possible.
When I’m trying to get into Riordan’s head, the lawyer/town storyteller, I’ll put on John McCutcheon — his Last First Kiss captures how Riordan feels about his unique relationship with Becca that starts in Thrown Out. When he’s in storytelling mode, it’s McCutcheon’s Greatest Story Never Told.
Lyrics lead to scenes
Because my storytelling is character driven, lyrics often spark thoughts about the characters. The journey of the characters in the novel I’m revising is perfectly captured by Stop Making Friends’s Fear. And when I was honing my writing skills on fanfiction, Missy Higgins’s Where I Stood was the theme song for my first novel-length work. I was three chapters from the end, wrestling with a key scene. And as I listened to the song while working on something else, it clicked. I was trying to write it between the wrong two characters — the ex-lovers — when it needed to be the ex- and the current partner having the conversation. I’d heard the piece a few thousand times at that point, but it wasn’t until my brain had soaked in for that long that the pieces fell into place.
Jennie Coughlin was raised in Franklin, Massachusetts and the author of Thrown Out: Stories from Exeter. Her first short story was the final project for a local history unit in middle school, and it sparked a love of both fiction writing and local history that continues to this day. She graduated from the University of Missouri with a bachelor’s degree in journalism. She has worked as a reporter and editor for community newspapers based in Massachusetts and Virginia. A life of living in small college towns with lots of history and strong arts communities comes through in her stories about Exeter, a small mill town in the Blackstone Valley of Massachusetts. The name is a nod to her hometown’s history, but Exeter isn’t based on Franklin or any of the other small towns she’s lived in — reality in those places is far too unbelievable to make good fiction. Find her on Twitter @jenniecoughlin