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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 YA paranormal novelist Christina Banach @ChristinaBanach
Soundtrack by Iggy Pop, Evanescence, Cyndi Lauper, Robbie Williams, Samuel Barber
I find background noise somewhat distracting when I’m working, so my normal practice is to squirrel myself away in my study and write in silence. However this doesn’t mean that music plays no part in my creative process – far from it. Even in the initial stages of brainstorming ideas and exploring characters I find lyrics and melodies filtering through my consciousness and seeping into the story I’m trying to tell. It’s at that point that I compile the playlist that I will listen to, time and again, when I’m not actually writing, that is. Then, as I work through the revisions, shaping my manuscript, this music spools in my mind, helping to deepen character and clarify – and intensify – plot points. This was especially true when I was writing Minty.
Although the book is shot through with humour, Minty is undoubtedly an emotive read, a true emotional roller coaster according to its reviewers. It centres around one of life’s big questions – is there life after death? – and deals with love, loss, friendship and redemption. Above all it is a book about hope. With such weighty themes it is no surprise that much of the music that informed the story is haunting, thought-provoking and stirring.
At the beginning of the book the protagonist, Minty, and her sister, Jess, are ordinary girls who are in love with life. As I grew familiar with their characters one song began to fill my head – Iggy Pop’s Lust for Life.
However, these typical teenagers are also identical twins, girls who are bound by a steadfast bond, one that is jeopardised when Minty drowns during a family trip to the coast. Yet the sisters’ connection isn’t broken, for Minty finds herself trapped between life and death, forced to watch Jess’s spiralling grief.
In the immediate aftermath of the accident Jess is desperate to catch Minty’s last breath (the twins are fascinated with the customs of ancient Rome). My readers tell me this is an intensely emotional scene. It was certainly emotional to write and this is partly due to the song that ran through my mind as I crafted it – Evanescence’s My Last Breath. It speaks to me of Jess’s despair, and Minty’s full appreciation of the situation she is now in.
Indeed, Evanescence features highly in the Minty playlist, for it is their songs that influenced the development of Jess and Minty’s character arcs. For instance, My Immortal could have been written specially for this book. It is this song that helped me drill down into Jess’s core and uncover not only the pain she feels now that she has to live without her sister, but also the agony of Minty’s presence still lingering in her mind. It’s Jess’s lament, if you like.
Then there is Bring Me To Life. I tend to think of this as the Minty anthem because, even although it is Minty who is deceased, the twins are both dead to some extent. In their separate, and very different, ways they need to be saved from themselves. Bring Me To Life helped me clarify this.
Why can’t I grasp it? Cos I’m nothing – a shade, a ghost, whatever I want to call it. I am a big fat zero. I should be used to that by now – being in this world but not of it. The thought sickens me. This existence sickens me.
Which brings me to my final Evanescence song, the beautifully haunting, Missing. It is this song that helped me tap into Minty’s pain and confusion at a particular juncture in the story, a plot point that is all the more poignant because it comes hard on the heels of an uplifting episode, featuring Jess and her friends. Cyndi Lauper’s Girls Just Want To Have Fun was the musical inspiration for writing that light-hearted scene.
And yet writing Minty wasn’t purely a full-on Evanescence fest, the music of other artists also wormed their way into my subconscious and aided the creative flow, and I don’t only mean Cyndi Lauper although another of her songs, True Colours, assisted me greatly in pinning down Jess and Minty’s characters.
Cue Robbie Williams and Angels. This well-known song is actually mentioned several times throughout the novel. In fact, it has a significant role in three of the pivotal moments in the narrative. One of these is Minty’s funeral, a chapter that stood unchanged through drafts one to eight of the revision process. I reckon that this song helped me nail it first time. Another of Robbie’s songs, Nan’s Song, was the soundtrack to one of my favourite scenes in the book, a scene based on something rather mysterious and perplexing that had happened to me many years ago. Listening to the music playing out in my head allowed me to capture that moment and transplant it into Minty’s story.
The ultimate fragment in the soundtrack puzzle is Samuel Barber’s Adagio for Strings. Several people have told me that Minty is an extremely filmic book, which is interesting because as I wrote it I saw it played out before me as if I were watching a movie on the big screen. This was never truer than when writing the closing scene of the final chapter. For me, it’s a moment of such poignancy, such beauty and high emotion – of hope. Perhaps Barber’s Adagio unleashed something in my psyche that enabled me to create the scene that needed to be written. I don’t know for sure, all I can tell you is that I cried each time I worked on it.
Christina Banach is an ex-head teacher who lives in Scotland, UK, with her husband and their two rescue dogs. Her debut novel, Minty, was the first acquisition of new publishing house Three Hares. She is currently working on her next book, a contemporary ghost story come psychological thriller set in and around the legendary village of Glencoe in the Scottish Highlands. Find her on Twitter @ChristinaBanach, or on her website, or Pinterest. Cover of Minty by Serafim.com
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My guest this week is releasing her debut novel, a tale of love, loss and friendship centring on a pair of twins. She says that music was her anchor while she was brainstorming ideas and exploring the characters, helping to deepen her characters and refine her plot points. Her soundtrack ranges from the mournful to the joyous, with tracks by Iggy Pop, Evanescence, Robbie Williams, Bette Midler, The Hollies and Samuel Barber. She is Christina Banach and she’ll be here on Wednesday with her 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.
authors, Cloud Riders, debut novel, Desert Island Discs, drama, entertainment, Facebook, fantasy, male writers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Nick Cook, playlist for writers, Roz Morris, science fiction, science fiction writer, The Undercover Soundtrack, Three Hares Publishing, Twitter, 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'