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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is McStorytellers founder, biographer and novelist Brendan Gisby @twistedfoot
It came as a revelation to me. ‘Do you use music in your writing process?’ asked Roz Morris. I didn’t know. I would have to check. I had written a handful of novels and biographies, together with some short stories – well, a mountain of stories, actually. It was amongst the latter that I began my investigations.
It didn’t take me long to partly answer Roz’s question. Yes, I do use music in my writing. Every other story I examined included some sort of musical reference. But what were the references doing there? Crucially, did they actually help in the process of writing the stories? I needed to look more closely at a few examples.
In one of my earliest stories called The Legend, the octogenarian Kate (my great-grandmother) recalls the times when she and her now long-dead husband, Dan, would sing songs to each other, he singing I’ll Take You Home Again, Kathleen and she Danny Boy. Now, I admit I had no idea whether Kate and Dan, who were both of Irish extraction, ever sang those particular songs, but I do know I had chosen them – two of the finest, most moving Irish ballads ever written – as a way to reinforce the tenderness of the young couple’s love.
Then there’s Up The Indians!, a story about my Irish-born mother’s lifelong love for the underdog. At one point in the story, I compare her actions with those of young Peter O’Loughlin, a character from The Mountains of Mourne, another beautiful Irish ballad, this time, appropriately enough, about émigrés. You see, both Peter and Mum were able to stop the whole street with a wave of their hands, as Mum did one memorable day in the centre of Edinburgh.
Next stop is The Boxer. It’s the summer of 1969, and ruthless bully Johnny Morris (he’s definitely no relation, Roz) is driving in his brand new Daimler Saloon. He’s due to marry the boss’s daughter in two days time, but right now he’s lusting after a waitress called Julie and he’s humming the tune of the latest hit by another Julie – This Wheel’s on Fire, sung by Julie Driscoll. The chorus from that song is then quoted, I’m sure, to emphasise both the thrust of the car’s V8 engine and the burning ambition of its driver.
Fast-forward to the winter of 1970 and The Ballad of Billy G. On the night 19-year-old Billy dies from an overdose of heroin, the narrator imagines what music is blasting from Billy’s stereo: ‘Some satanic licks from Hendrix, maybe. Or Joplin rasping out Summertime.’ Musical references to define a culture, then.
There are other references that help define a mood. Such as when cheery Bill, the silver-haired Lothario in The Race, whistles along to Ella Fitzgerald as she sings Cheek to Cheek. Or when the lovelorn Eugenio in The Exile wanders through a deserted Venice on New Year’s morning, hearing the strains of Vivaldi’s Winter swooping over him.
And there’s one final reference that perhaps defines an era, rather than a mood. It’s found in The Bookie’s Runner, my tribute to my late father: ‘He’s dressed like Frank Sinatra, like a member of the Rat Pack. He’s the bookie’s runner with the lopsided grin, but he’s destined to lose.’
As I said at the beginning, the answer was a revelation to me. But it shouldn’t have been. By placing those musical references throughout my work, I’ve been replaying the soundtrack of my life. I grew up in the 1950s to the sound of those beautiful Irish ballads sung by wonderful Irish tenors like Count John McCormack. I was a schoolboy when Frank Sinatra and others in the Rat Pack dominated popular music in the 1960s. Later that decade, I was another teenager enthralled by a young Bob Dylan. Later still, I was immersed in the drug-fuelled blues of Jimi Hendrix, Janis Joplin and many others. Then gradually, grudgingly, I embraced the world of classical music. And Ella Fitzgerald? Man, who could ever forget the voice of an angel?
Brendan Gisby was born in Edinburgh halfway through the 20th century and brought up just along the road in South Queensferry (the Ferry) in the shadow of the world-famous Forth Bridge. Retiring from a business career in 2007, Brendan has devoted himself to writing. To date, he has published three novels, three biographies and several short story collections. Brendan is also the founder of McStorytellers, a website that showcases the work of Scottish-connected short story writers. His own website is Blazes Boylan’s Book Bazaar. You can also find him on Facebook and Twitter @twistedfoot .
authors, Brendan Gisby, Bridie Gallagher, contemporary fiction, Desert Island Discs, drama, Ella Fitzgerald, entertainment, Frank Sinatra, Janis Joplin, Jimi Hendrix, John McCormack, Julie Driscoll, literary fiction, literary novels, literature, male writers, McStorytellers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Robert White, Roz Morris, Scottish fiction, short stories, The Undercover Soundtrack, undercover soundtrack, Vivaldi, writers, writing, writing to music
My guest this week had never realised his fiction was so closely tied to music, nor how much that meant it reflected the landmarks of his own life. Through significant songs he has peeled back the years to channel aspects of his family and upbringing, to flesh out the characters in his short stories and novels. He is McStorytellers founder Brendan Gisby and he will be sharing his Undercover Soundtrack on Wednesday.
authors, Brendan Gisby, contemporary fiction, drama, entertainment, literary fiction, literature, male writers, McStorytellers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, Scottish short stories, short stories, The Undercover Soundtrack, 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 2011-2020. 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'