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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 horror and thriller writer Will Overby @Will_Overby
I have never understood how anyone can write in total silence. Call me crazy, but there’s something about writing to music that frees up the flow of thought, that takes my mind to places I wouldn’t ordinarily visit, that presents me with sudden, surprising inspiration.
I first noticed this back in 1984. I had just graduated high school and I was working on what would turn out to be my first completed novel, August. That summer I purchased Bruce Springsteen’s Born in the USA and listened to it most days when I was writing. As the weeks went by, I quickly realized that it was becoming a soundtrack of sorts to the book. Songs like Downbound Train and I’m On Fire helped me add a particularly gritty feel to the character of Brian DeCanto and gave him a depth I couldn’t have achieved otherwise.
This was a revelation. Subsequent stories and novels continued to have soundtracks, including a never-to-be-published young adult novel inspired completely by the music of U2. Back in the day I would make mix tapes to play while writing. I still have a couple of those tapes, and it’s really interesting to go back now and see what inspired me 15 and 20 years ago. Nowadays I just cue up a playlist on my computer, and I can add and delete selections at my whim.
While writing this post I’m listening to the music I used for inspiration while working on my novel The Island. In this story two friends, Sarah and Amy, travel to a Caribbean island for a getaway but end up being caught up in a vodou cult complete with zombie rituals and mysterious disappearances. There is also a touch of romance, as Amy falls for a local tour-boat operator, David.
When first developing this book, I would often listen to the type of music I imagined the characters would enjoy. Sarah and her fiancé, for instance, are into big band music, so much of her characterization involved immersing myself in songs like Goody Goody by Benny Goodman. David, on the other hand, collects vinyl records and is especially fond of 50s jazz; John Coltrane seems to be his favorite for reflection, but as his and Amy’s love affair blossomed, I found myself drawn to sultry numbers by Julie London like I’m in the Mood for Love to accentuate their growing sexual attraction.
When it came to the meat of the book, I relied on instrumental pieces – both modern classical and film soundtracks – for inspiration. The zombie ritual near the end of the book, for example, is set to Kryzysztof Penderecki’s Polymorphia – a creepier piece of music I’ve never heard; you can almost feel skeletal fingers closing in around your throat as the pizzicato strings play a frenetic path up and down the scale. Likewise, his The Dream of Jacob was sometimes set to repeat when I needed a feel of dread and unease. For scenes early in the book when Sarah is having hallucinations and nightmares, Gyorgy Ligeti’s Lontano wonderfully portrays the outward appearance of calm while panic and horror gnaw inside.
No music was a greater inspiration, though, than Brett Rosenberg’s soundtrack to the 2006 film, Half Light. While the more horrific music seemed to mirror some of the Penderecki pieces to great effect, the quieter more melodic passages were fantastic in helping me round out the character of Sarah. The heart-rending solo violin selection Girl in the Storm, for example, perfectly captures Sarah’s sense of loss and loneliness.
For those of us writers who use it, music can be a great motivator. I know if I’m having trouble getting in the mood of the story I can turn on the book’s playlist and the thoughts start flowing again. If you happen to be one of those who can’t write with the distraction of music, I urge you to try listening to some pieces to set your mood before you write. You may just be surprised at what springs into your mind. And onto your page.
Will Overby has spent 30 years in the boardrooms and glass offices of retail banking. Between dodging mergers and drafting policies he publishes novels. He and his wife live far from the corporate world in rural western Kentucky. They have two grown children, a dog, and a menagerie of cats. A graduate of Indiana University, Will is an avid Hoosiers football fan. Connect with Will on his website, www.willoverby.com, on Facebook, or follow him on Twitter.
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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 award-winning crime writer Terrence McCauley @tmccauley_nyc
People who know me or have read my work may be surprised by how much music influences my writing. I don’t listen to music when I write or even edit, but at other times, a chance song on the radio or browsing the musical selection on my phone can help spark an idea for a scene or an entire story line.
The best examples are the novels I’ve written. The first – Prohibition – is a crime novel set in 1930 with an opening scene of the protagonist stalking someone through the cold, lonely streets of New York City. One could be forgiven for believing that scene was inspired by any number of noir movies – of which I am a huge fan – but in this case, they’d be wrong. The opening scene was inspired by Bruce Springsteen’s song Murder Incorporated. When I heard that song for the first time, the drum beats that open the song reminded me of footsteps echoing on an empty street as someone is fleeing for their life. The sax sounded like car horns blaring past the unfortunate man now on the run.
The ending of the novel (which I won’t give away here) was inspired by 3 Doors Down’s Love Me When I’m Gone, a mournful tune that fit the ending of the book rather nicely.
Hard luck cases
My novella Fight Card: Against the Ropes is a prequel to Prohibition and details the protagonist’s boxing career before he became a mob enforcer. The protagonist – Quinn – has always had his own soundtrack in my mind that was different from the over all soundtrack of whatever story in which he appears. In Against The Ropes, Quinn’s soundtrack comes to the fore: Everlast’s What It’s Like is a song about hard luck hard cases, a description that fits the Quinn character nicely. The ending of the book, where Quinn accepts the inevitable end of his boxing career and agrees to become an enforcer for the very men who have ruined his career, was inspired by the Rolling Stones’ Sympathy for the Devil. The crafty, patient villainy of the song seemed appropriate for Quinn’s acquiescence of a life of crime.
The third book I have out now, Slow Burn by Noir Nation Books, is also set in 1930s New York, but the protagonist is a police detective named Charlie Doherty. He’s a corrupt, impure Tammany Hall hack and a man whose life is on a downward spiral. His wife left him, his career is ending in ignominy and he’s running out of reasons to get up in the morning. The melancholy, yet strong song Better than Me by Hinder suited Doherty well and I wrote the story with that tune in mind. Some people who have read Slow Burn think Dean Martin’s Ain’t That a Kick in the Head inspired the ending. But I thought of a more triumphant, slightly cocky song. How You Like Me Now by The Heavy worked best and it gave me inspiration for the ending scenes.
Music doesn’t only influence the beginning and ends of my books. I also draw inspiration from music for other types of scenes I write. For more sentimental scenes, I listen to the theme from The Shawshank Redemption soundtrack or Now We Are Free by Hans Zimmer and Lisa Gerrard from the Gladiator soundtrack. The Band Perry’s If I Die Young inspired me to write a few scenes for a western I’m working on now called The Devil’s Cut.
My work tends to have a lot of violence and action, and music plays a role in my crafting of those scenes as well. House of Pain’s Jump Around as well as Rob Zombie’s Super Charger Heaven have hard, edgy, fast-moving tempos that get the juices flowing and help me create scenes that pop.
Terrence P. McCauley is an award winning crime writer. His latest novel, Slow Burn, is currently available in e-book format from Noir Nation Books on Amazon. His other books Prohibition, published by Airship 27, and Fight Card: Against the Ropes (Fight Card Books) are also available on Amazon. His website is here and you can follow him on Twitter @tmccauley_nyc and Facebook.
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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 2011-2019. 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'