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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 magical realist suspense novelist Candace Austin @caustinauthor
There are two things from which I abstain while writing—music and wine. I write better in silence while sober. Maybe this is why I work through a first draft fairly quickly?
I can reduce the bustling of my busy family to a low murmur with my thoughtful plotting, but music, I cannot. It’s captivating to me. Music does, however, play a huge role in the growth of my novels. Once my protagonists and their stories germinate in my brain, I set out in search of a song that will help them flourish. It never fails. I find a perfect song that speaks to their stories and tells me their secrets. It’s as if the song was created just for my characters—for me.
My debut novel, The Layers, is the story of David Kiplinger, a 19-year-old living in a post-Unveiling age in which most everyone remembers past lives. When TheLayers.b4u website (think Facebook meets Ancestry.com for millennia past and present) reveals that David has lived exponentially more lives than anyone else on earth, he’s lifted to a level of fame reserved for the divine. To answer questions and diffuse the onslaught of attention, David agrees to an autobiography, but when he meets his ghostwriter, Holly Stone, he can’t help but wonder if she’s the woman who has lived alongside him, the one he has loved unconditionally, the one who killed him.
Regardless of David’s suspicions about Holly, theirs is a sweet and humorous story of unconditional, eternal love … and irony, there is irony. When I heard Brandi Carlile’s The Story, I knew it was their song. Ms. Carlile sings about the layers, the depth of our individual life stories and how immensely satisfying it is to find that one person who knows your story like the back of their hand and appreciates it for all that it is, and all that it’s not. It’s messy. It’s glorious. Life’s elation and misery are there in her lyrics. I often listened to it before I began my daily writing. The intensity with which she sings the song inspired me to elevate the emotions as I wrote, and I think The Layers turned out better for it. How this song was not a chart topper, I’ll never know.
Whimsical and inspiring
One song does not fit all, however. Much of The Layers is humorous, and I found that I needed to shift into another gear when writing the lighthearted scenes. Jamie Cullum’s remake of Ruby and the Romantic’s classic Our Day Will Come struck the perfect chord. The tune is whimsical and inspiring, hopeful and innocent, much like David.
David handles his complicated relationship, newfound fame, and status as the most reincarnated of men with a cheerful optimism. He likes to think that living is a gift, not a punishment. Life is Okay by Michael Johns and Brooke White embodies the guarded optimism that defines him.
Rounding out my playlist is In My Life by The Beatles and Imagine by John Lennon. Obviously, there’s a theme here—life. Music helps me contemplate life. Just imagine what life would be like if we remembered being someone else, somewhere else? (insert Twilight Zone theme). Would we launch into a new life knowing what to savor? Would the world improve because we understood without a doubt what is important?
Ooh. I will now listen to music with a glass of wine in-hand!
Candace Austin is the author of The Layers and In Her Sleep. Her fast-paced, suspenseful novels use magical realism to explore love, life, and the humorous and heart-wrenching oddities in both. Originally from the Chicago suburbs, Candace resides in Raleigh, North Carolina with her husband of 20 years, two kids (one heading for college, the other kindergarten), a hefty Golden Retriever, and a Maine Coon Cat that comes and goes as he dang well pleases. When not writing, she enjoys NC State football games (particularly the tailgating), and traveling to Maine to spend time with her parents and family. Find her on her website and on Twitter as @caustinauthor
That’s the last Undercover Soundtrack for 2013! The series will return on 8 January.
ancestry, authors, Brandi Carlile, Candace Austin, Chicago, Desert Island Discs, drama, entertainment, Facebook, fantasy, ghostwriter, Jamie Cullum, John Lennon, magical realism, Michael Johns and Brooke White, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, past lives, playlist for writers, reincarnation, romance, Roz Morris, social media, social networks, speculative fiction, suspense, suspense author, The Beatles, The Layers, The Undercover Soundtrack, Twilight Zone, undercover soundtrack, who were you, Women Writers, writers, writing, writing to music
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 novelist and Talking Writing columnist David Biddle @dcbiddle
My novel, Beyond the Will of God, is about many things: murder; rural Missouri in the heart of the summer; odd conspiracy theories; altered states of consciousness; and the realities of telepathy. Most importantly, though, this book is about the power of music and its connection to creativity, and what ultimately lies beyond death.
The story begins as a murder mystery, but very early on the reader is confronted with the realization that there may be a sort of magic to music that we don’t understand — rock ’n’ roll music in particular. Understanding that magic is the real mystery of the book.
The idea came to me when I was 17 and had just discovered the sorcery of Jimi Hendrix’s guitar work. The first time I heard his masterpiece, 1983…(A Merman I Should Turn to Be), I became convinced that Hendrix had discovered a way to channel and tune human thought to a unified vibration. The title for my novel comes from a phrase in this song.
I wouldn’t start writing, though, for another 15 years. New Year’s Day 1990, I was listening to a radio special on Elvis Presley’s early career. Strains of acoustic guitar started up. A voice-over told us That’s Alright Mama was Elvis’s first hit. As I listened to The King of rock ’n’ roll, I saw a bar full of hard-drinking young people in rural Missouri listening to his first hit song, and an Amish boy sneaking in the back. I began to write. That work became the scene that is now in the middle of chapter one, ending with two characters lost in dark farm country hearing strange guitar music on the wind.
I knew the story was a mystery-thriller, but it would also be about the power of sonic vibration of all kinds. The untimely deaths of so many great musicians and personalities in the 20th century would become the center of the plot I was concocting.
Whether we know it or not, our thoughts are connected to all the sound in our lives. One song I kept coming back to that helped me meld the CIA with the hippie search for ‘higher consciousness’ was The Beatles’ Tomorrow Never Knows. Even today, almost 50 years after it was recorded, the use of tape loops, sitar, non-standard rhythm, and Lennon’s lyrics can crack open the most stodgy artist’s mind.
Over time, as I wrote, I listened endlessly to music by artists who, like Jimi and Elvis, had all died before their time – Jim Morrison, John Lennon, Jerry Garcia, Jim Croce, etc. Blues legend Robert Johnson’s story of selling his soul to the devil is where the black magic of rock ’n’ roll got its start. He died at the age of 27. In the classic Come On In My Kitchen he is haunting and mystical. Johnson has an important part to play in Beyond the Will of God.
Ideas of immortality
In the spring of 1997, I read about a singer and musician I’d never heard of before named Jeff Buckley. He’d just drowned in a channel of the Mississippi River in Memphis, Tennessee. As I read, it became obvious Buckley was important to my story. His highly regarded album, Grace, was a smorgasbord of new music inspiration. Last Goodbye is my favorite song, but the title track, Grace, speaks directly to the ethos of Beyond the Will of God. It is dark, swooning, and ponders the idea of immortality. The first draft would be completed shortly after discovering Buckley.
But I wouldn’t have been able to edit and re-write my first draft it if I hadn’t found the rather esoteric album, Sushilove Sessions, by the world beat-improvisational jazz combo Global Illage. There are no easily accessible renditions of Sushilove Sessions online, but check out this recent recording by two of the group’s musicians, talented drummer, Jim Hamilton, and guitarist extraordinaire, Tim Motzer. Here they are, recorded in the spring of 2013, improvising the composition As Real As Life.
I listened to Global Illage non-stop every night for 23 days doing the final re-write of Beyond the Will of God. It went from 450 pages down to 350. Sex, drugs, (metaphysics), and rock ’n’ roll all wrapped up in a murder mystery.
Along with his novel Beyond the Will of God, David Biddle has published two collections of short stories: Trying to Care (2011) and Implosions of America (2012). He has been writing professionally for over 30 years, publishing articles and essays in the likes of Harvard Business Review, The Philadelphia Inquirer, In Business, Huffington Post, Kotori Magazine, and BioCycle. He writes the ‘Talking Indie’ column at the online magazine Talking Writing. You can track him down at http://davidbiddle.net. Tweet to him as @dcbiddle
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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 debut author Barry Walsh @BJWalsh
Soundtrack by Neil Young, Handel, Beniamino Gigli, Bob Dylan, the Beatles, the Marvellettes, Rod Stewart, Adele, Flanagan & Allen, Mozart, JS Bach, Hildegard von Bingen, Beethoven, Dexy’s Midnight Runners
The Pimlico Kid is about first-love, which can quarry a hollow in one’s life that is hard to fill. It’s also about kids scrabbling past puberty and slamming into emotional or physical barriers set by adults.
… the most we might have expected to deal with was a first kiss or a dying grandparent, we were undone by love itself, and violence – and that adults betrayed us.
The lyrics of Neil Young’s songs were ever-present in my head while writing the book. For years I had piled up notes from which to make The Pimlico Kid a novel but it was the beautiful reference to childhood friendship and secrets being revealed in Philadelphia that turned intention into action.
The narrator, Billy, unlike some of his friends stands on the solid ground of happy family life. His easy-going father is a hard man and his volatile brother, John, will become one. However, Billy’s father is comfortable revealing his softer side and expresses it in his fine singing. And, when his sons were small, he kidded them he knew Italian and sang his favourite Beniamino Gigli songs, such as Handel’s Ombra mai fu, in beautiful gibberish.
This contrasts with Bob Dylan’s less mellifluous The times they are a changin’ (played loudly enough to shake the house) that defines the rebellious younger brother John, who is yet to discover his softer side:
When he’s asked or told to do something, he has this stiff, chinny look that makes it clear he doesn’t have to comply, but that he will, only on this occasion.
The exhilaration of first attraction is almost always about a face. And it is nailed by the Beatles’s I’ve Just Seen a Face. When Billy falls for Sarah, he worries that his more mature friends will disapprove because she is still flat chested. However, he’s prepared to wait for breasts:
I know that whatever Rooksy says about fabulous flesh, love starts with a face.
A host of songs evoke the summer of 1963 but none more vividly than the Beatles’s She Loves You. Billy and his friends stand transfixed outside a pub from which it is blasting out, again and again. This is the song that vanquishes the old pop music order – along with Brylcreem. When an Elvis song starts up, they leave.
During one of those never-ending summer days of childhood, the loves of four friends – Billy, his best mate, Rooksy, Sarah and Josie collide and magic is conjured up by declarations of love and secrets revealed. The Marvelettes’ When You’re Young and in Love kept popping into my head as I tried to pin down the excitement of new love. The lyrics may be simple but if you are young and in love, they couldn’t be more true.
At a critical moment Billy’s behaves like an idiot in front of Sarah. Burning with shame, he’s surprised to find that it doesn’t affect how she feels for him. This reflects my experience of how often weak and flawed people, usually men, are lucky enough to find someone who loves them anyway. Neil Young ‘gets’ it in Hangin’ on a Limb, in which a man wobbles at the edge of an emotional precipice and a girl teaches him how to dance.
As their relationship grows, the four friends come to learn that love breeds compassion and diminishes judgement of those it’s easy to ridicule, whether it’s because of a birthmark or sexual orientation. In the early sixties there were few openly gay teenagers and a great deal of unthinking homophobia. A decade later, Rod Stewart’s The killing of Georgie helped to change things a little and it came to mind constantly while I struggled to get this issue onto the page.
Adele’s Someone Like You wasn’t a creative influence but, on a more exalted level, it provided creative confirmation of the universal theme that I was trying to make personal. During my fourth re-write, the song was playing every day and everywhere and its reference to glory days of summer goes to the heart of The Pimlico Kid, in which …
love can endure but … promises are hard to keep.
Finally, the streets of London are the main stage for The Pimlico Kid. Maybe it’s Because I’m a Londoner anchors Billy – and me – to the greatest of cities.
I write to classical music, which provides welcome harmony to counter the dissonance in my head. I start most days with Mozart’s String Quintet No 1 because it lifts my default mood of pessimism about finding the right words. Each day features Bach, lots of Gregorian chant and the liturgical songs of Hildegard von Bingen. I regularly work my way through Beethoven’s quartets but stop when I reach No 15, which triggers Wordsworthian ‘thoughts that lie too deep for tears’.
When the writing has gone really well, I celebrate with the Kyrie from Beethoven’s Missa Solemnis, which isn’t at all ‘solemn’. And, when there’s no one else in the house, I turn to Dexy’s Midnight Runners’ Come on Eileen and jig around like mad Ben Gunn on the beach.
Barry Walsh grew up in the heart of London during the 60s and thought belatedly that there might be a story in it. The result is The Pimlico Kid, published by Harper, a story of first love. He is now writing his second novel. When not at the keyboard, Barry enjoys cycling (he once rode non-stop to the top of Mont Ventoux), holidays in France, watching Arsenal, listening to Neil Young and gazing at Audrey Hepburn’s face. He is a proud trustee of the world’s oldest youth club – St Andrew’s, Westminster – and believes that London might just be the centre of the universe. He is married with two daughters. Find him on his website and Twitter @bjwalsh
GIVEAWAY Barry is offering a signed print copy of The Pimlico Kid. For a chance to win, leave a comment here or share this post on Twitter, Facebook, G+ or anywhere else (and don’t forget to leave a note here saying where you shared it).
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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 screenwriter, playwright and novelist Cally Phillips @i_ebookreview
Soundtrack by Michael Jackson, Shaggy, The Beatles, Harry Belafonte, The Muppets, Nat King Cole, David Rovics, Sam Cooke, John K and Fred Ebb, Joel Grey, Liza Minnelli, Bing Crosby, The Andrews Sisters
All my life I have made up words to songs. As a student I used to entertain my companions on the way to and from the pub by making up ‘different’ lyrics to pop songs and musicals. It was just something I did. I heard music as a soundtrack in my head all the time and used the melody to write my own version of songs. I had a love of musical theatre and sort of wished that the world could be like that, people breaking out into song in the oddest places without any provocation. Strangely, I never thought about a career as a lyricist (I didn’t know you could). When I ‘became’ a writer for a job in my late 20s I chose screenwriting because I needed to earn a living. But life takes you on all kinds of unexpected paths and sometimes all the creativity inside you just hits that perfect moment. I’m lucky. For me the moment lasted the best part of 10 years. And changed my life.
In 2003 I started working with an advocacy group for adults labelled with learning disability who wanted to learn drama. I had no experience of ‘learning disability’ but plenty of experience of practical drama. It was challenging to begin with. Most of the group couldn’t read or write, some couldn’t or didn’t even speak. However, an amazing thing happened. Music unlocked the door.
One member of the group who never spoke beyond ‘Yes’, ‘No’ and ‘Happy’ just came alive when we started to use music. He revealed a talent for singing as well as a keen memory of 50s and 60s music. Consequently I started using music to bind together our flexible scripts. I found that by changing the lyrics of familiar pop songs to suit the story we managed to create dramas that the cast could engage with and which entertained an audience.
In 2004 we did a comedy musical version of Hamlet (called Piglet!) which included ‘ghosty’ pigs doing a song and dance version of Michael Jackson’s Thriller (song starts 04:40) and Shaggy’s It Wasn’t Me alongside my adaptation of a well-known classic with one word changed! ‘Piglet, do you want to know a secret.’ This was followed up by devised musical plays around the theme of Fairtrade – Go Bananas which featured Day-oh and Wake up and Smell the Coffee which featured, among other songs You’re the cream in my coffee and a play on recycling using the title of a David Rovics song The End of the Age of Oil and built around that song. Performed at the Scottish Parliament, we opened the event with our ‘star’ singer (the man who didn’t speak, remember) singing Amazing Grace accapella. That was a high point of my life. There wasn’t a dry eye in the house.
Our most ambitious project was performed in 2008. Aiken Drum’s Recycled Musical was our first full musical. For the uninitiated, Aiken Drum is a traditional Scots tale which deals with how people view ‘outsiders’. It was a really political piece in many ways. We set it in a sort of fictional Industrial Revolution town called Trade Town. All the songs were adapted from pop songs. For example I adapted the lyrics of Wonderful World (song starts 0:38) –
‘Don’t know much about industry,
Don’t know much about commodities,
Don’t know much about stocks and shares…’
and my favourite line
Don’t know why you want to work for money, I don’t think consumerism’s funny.’
And we also butchered Cabaret’s classic Money Makes the World go round
‘When you haven’t any shoes on your feet and your coat’s thin as paper and you look thirty pounds underweight
My advice is get a job, get a mortgage, pay with credit, have all the luxuries you need
Cause money makes the world go around…’
Having moved 200 miles north I no longer work with the group, but I have taken our experiences from that time and published them as a novel, A Week with No Labels, which includes all the ‘dramas’ I’ve mentioned and a few more besides. It includes many of the ‘created/adapted’ lyrics. Described by Julia Jones as ‘perhaps the most significant book I’ve read on my Kindle this year’, it is a tribute to my time with this amazing bunch of people who changed the course of my life and changed me irrevocably as well. Without the music there would have been no creativity. Without ABC there would have been no novel.
On the way to writing A Week with No Labels I have learned that music and creativity is for everyone. And that life can be a musical. One shouldn’t take it too seriously, one shouldn’t strive for perfection because what’s most important in life is to live and love and be creative together. The song which was always in my mind while I penned A Week With No Labels and remains there whenever I think about it is You’ve got a friend. Sung by my friend, Larry. Among other things he taught me that in our real life musicals the voice is less important than the heart. So maybe music is about more than just words.
Cally Phillips has worked as a screenwriter and playwright for 20 years and is now focussed on fiction writing. Committed to a life of creativity, she publishes advocacy work through Guerrilla Midgie Press and other writing through HoAmPresst Publishing. She writes in silence but still makes up songs, sometimes to extant tunes, sometimes recycling other melodies. Only the dogs get to hear these masterpieces. She is currently director of the Edinburgh eBook Festival and reviews for Reading Between the Lines Collective. She is also a member of the Authors Electric Writers Collective. A Week With no Labels is available in ebook format for Kindle and epub and as a paperback.Her website is here. Find her on Facebook and Twitter @i_ebookreview
A Week With No Labels, adults with learning disabilities, advocacy group, authors, Authors Electric, Bing Crosby, Cally Phillips, comedy, contemporary fiction, David Rovics, Desert Island Discs, Do Authors Dream of Electric Books, entertainment, Harry Belafonte, Joel Grey, John K and Fred Ebb, learning disabilities theatre group, learning disability, Liza Minnelli, Michael Jackson, music, music for writers, music for writing, My Memories of a Future Life, Nat King Cole, playlist for writers, Roz Morris, Sam Cooke, Shaggy, The Andrews Sisters, The Beatles, The Muppets, The Undercover Soundtrack, theatre, undercover soundtrack, unexpected paths, Women Writers, words to songs, 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 2011-2021. 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'