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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’s post is by debut suspense author Kathryn Guare @KGuare
When I first began writing what would eventually become my debut suspense novel, Deceptive Cadence, I started it at the end. I just didn’t realize it.
The book tells the story of Conor McBride, an Irish musician turned reluctant undercover operative. The beginning details his recruitment for a very personal mission to India to find and capture his own brother, but the first scene that came to me ended up as the beginning of its final chapter. At the time I knew little about the protagonist. He didn’t even have a name. I knew he was Irish, and was emerging from a traumatic, life-changing ordeal. He was physically depleted, emotionally raw, and frightened. Why? I didn’t know. To find out, I kept writing.
While random scenes and bits of dialogue were popping into my head, I was commuting two hours a day to my job—and going through my local library’s inventory of audio books at a rapid rate—when I happened upon a Great Courses audio seminar called How to Listen to and Understand Great Music. To say it had an influence on my writing life would be a vast understatement. Not only did it influence the title of the book (explained here), it also inspired one of the central features of its hero—he’s a virtuoso violinist. Once I had that aspect of his character nailed down, Conor McBride’s personality and all his complexity began to come alive. Many readers of Deceptive Cadence tell me Conor is quite a departure from the typical, stock heroes of suspense/thrillers. He’s a complicated character that they want to know better. I owe that to the Great Courses, and the moment I decided he needed to be a gifted musician.
I’m easily distracted by music. The only thing I can have playing in the background while I’m writing are those ‘sounds of nature’ tracks—rain water, thunder, bells tolling, monks chanting—but when looking for inspiration I go walking with my ipod, my music choices driven by whatever theme I’m concentrating on in a given scene.
One theme of the book is the paradox of an honorable man forced by circumstance to reinvent himself into something less so. Conor disappears into an assumed identity and enters a world of cold-blooded deception and violence. And finds he is good at it. The internal chaos this creates is mirrored by the literal chaos of his external surroundings. India is a kettle perpetually at full boil, vibrant and desperate, cunning and guileless, its teeming humanity contributing to an overwhelming sensory experience of sights, sounds and smells.
Secret Garden’s atmospheric piece Moving captured that internal and external tumult for me, almost a theme song for Conor’s entire journey, so that I ended up including it in my book trailer. It begins with an ominous drumbeat underlying a melody of violin and soaring flutes, evoking the Irish sea coast, but the intensity grows, creating a cascading sense of wildness, perfectly symbolizing the physical and psychic movement from idyllic country setting to exotic, urban mayhem.
The Irish-American group Solas does a cover of Jesse Colin Young’s moody Darkness Darkness that inspired me as I watched Conor falling farther from himself. After committing an act of violence that revolts him, he wanders the dark streets of Mumbai, wrestling with guilt, and I thought of this song as I wrote that scene.
For the Indian side of the equation, Munni Badnam by Arbaaz Khaan from the 2010 Bollywood blockbuster Dabaang, is a song with a driving urban beat that conjures the modern, kaleidoscopic frenzy of Mumbai’s crowded streets and throbbing nightlife. At the 1:06 mark, you even get a taste of something like a mash-up of a Hindi-Irish reel!
I’ve also belatedly discovered the legendary Irish rocker Rory Gallagher, and for some pure, tongue-in-cheek fun, his Philby is perfect for epitomising some of Conor’s disdain for the world of secret intelligence and the testy relationship with his American control officer. Ironically, Rory offers some fierce, sitar-like plucking at the song’s mid-point.
Touching the mystical
Another important theme of the book is Conor’s connection to the mystical, and the special relationship he feels with some of the people in his life – his near-psychic mother, and the tiny Indian mafia wife and guru who becomes a spiritual anchor for him. Turning again to Indian cinema, Love and Marigolds from Monsoon Wedding instantly puts me in the right space for this theme, as does Luka Bloom’s Sanctuary, and Secret Garden’s Hymn to Hope.
Back to classical
For the most emotional and climactic scenes of the book, I went back to the classical realm and the second movement of Samuel Barber’s Violin Concerto, Op. 14. I never make it through this without crying, almost from the opening notes of its poignant clarinet solo. The entire movement, with a discordant violin gradually resolving into gorgeous melody, seems like an ode to sorrowful loss that is somehow balanced against a staggering, awe-struck wonder. I won’t reveal details, but suffice it to say this is Conor experiencing a powerful moment of grace even as he is shaken by the reality of grief.
I would like to say I’m a connoisseur of music, but that would be giving myself too much credit. I am more like a committed dilettante. I’m a curious listener and lover of diverse forms, which I experience with emotional enthusiasm rather than any depth of expertise, but at least I can say that the Great Courses seminar worked. I now can listen to and understand great music, and it fuels every creative effort I undertake.
Kathryn Guare is back in the town of Montpelier, VT where she grew up after many years of globetrotting. She spent 10 years as an executive with a global health membership organization, worked as a travel agency tour coordinator, and her extensive travels inspire her writing. Deceptive Cadence is her first novel, available now at Amazon and other online retailers, and distributed through Ingrams and Baker & Taylor. Visit her website for more pictures, music and fun facts about the book, and connect with her online on Facebook, Twitter, and Goodreads.
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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 novelist, short story writer, essayist and small press editor Bryan Furuness @furunati
Soundtrack by Rainymood.com
I’ve never been good at focusing. The smallest sound can break my concentration, but absolute silence can lull me into a daydream—which is cool, but not so great if I actually want to get anything done. But if I listen to the right sound, it can provide a shield against distractions, while keeping me from spacing out.
Most days the sound is the sound of rain. It’s the white noise of nature, an audio curtain you can draw around yourself to block out the world. Rainymood.com plays a looping track that is about 30 minutes long. At one point, a dog barks twice in the distance. Later, a train goes by. Then it all hushes, just for a moment, before starting over.
Carry me back
Day after day, the rainstorm brought me back to the world of the novel. It’s a kind of anaphora, which comes from the Greek term of anapherein, meaning to carry back. The writing process is another kind of anaphora: you revisit the same story or poem or essay over and over, again and again, with patience and focus and persistence.
The Lost Episodes of Revie Bryson took about eight years to write, or approximately 8,000 rainstorms. The book’s about a precocious and dreamy boy who’s decided that he’s the second coming of Christ. His mother, an inventive storyteller, likes to tell him made-up Bible stories, which she claims are ‘lost episodes’, or outtakes from the King James version. Wild as prophecy and seemingly just as coded, these charming and dangerous tales feature steel mills, cars, and transistor radios, among other artifacts not generally associated with life at the beginning of Anno Domini. Faith can be fickle, though, and Revie’s belief in God and his family is shaken when his mother leaves home to pursue her dreams of stardom in Hollywood. Over the course of a year, one family and one boy must learn to sacrifice and forgive in order to be born again.
The book has no storms, but there it is again: anaphora. Second comings, resurrections, homecomings, retrospective narration, and listening to the same storm over and over are all built on the same pattern, the one called carry me back.
Maybe that’s the obsession that underpins all my other obsessions. I’m thinking now about a scene from the middle of the book, when a character named Pastor Mike tells Revie that God built the universe on a circular track. ‘Everything orbits,’ he tells the boy. ‘Including you.’
Including me, too. Including all of us.
Bryan Furuness is the author of the novel, The Lost Episodes of Revie Bryson. His fiction has appeared in Ninth Letter, Southeast Review, Hobart, and elsewhere, including New Stories from the Midwest and Best American Nonrequired Reading. He teaches at Butler University, where he serves as the Editor in Chief for the small press, Pressgang. Find him on Facebook and on Twitter as @furunati
GIVEAWAY Bryan is giving away 2 paperback copies of The Lost Episodes of Revie Bryson to commenters here. Extra entries if you share the post on Twitter, Facebook or other platforms – but remember to note in your comment here that you have! He also asks that if you happen to win, he’d be extremely grateful for a review on Amazon or Goodreads – favourable or otherwise.
Also, don’t forget that there’s a giveaway on the Nail Your Novel site as well… to celebrate a new cover.
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- 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
Find something unforgettable
- Kind ways to deal with damaged POD books – guest post at Alliance of Independent Authors
- Making a living as a writer: how social media can be a long-term investment for your career
- ‘A dead soul, a journalist in a dystopian Scotland, and painful family memories’ – The Undercover Soundtrack, Philip Miller
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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'