Posts Tagged thriller
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 author, editor, journalist and musician Andrew Lowe @andylowe99
Soundtrack by Burial, The Durutti Column, Joy Division, Magazine, Nine Inch Nails, Sigur Ros, The xx.
That was his tragedy. He didn’t yet know that fear was more powerful than love.’
The Ghost is a novel about violence. At its centre is an act of extreme violence, perpetrated by three children. The book tells the story of how the consequences trickle down through time; a slow-acting psychological poison which engulfs the three children in adulthood.
I wrote it as a crescendo: smouldering beginning, gathering middle, explosive ending.
I didn’t completely throw away the structure rulebook. I understand that continuous intensity will exhaust the reader, and so there are dropouts of release, spikes of hypertension, recurring motifs and anchoring asides.
In other words, I wanted it to feel like a lot of the music I love – the kind that steals over you, seeps beneath your skin and then grips and grows and grows.
Soundscape to landscape
Music is as vital a part of my life as light or air. I’ve always struggled with the idea of ‘background’ music in film or television. My favourite filmmakers bake it into the centre of the drama – as commentary to underscore the action, as soundscape to emphasise landscape. They also use the absence of music to wrongfoot the viewer into relaxing. (Is there anything less shocking than a jump scene telegraphed by a rising note and announced with a jarring chord?)
Music informs my writing in a similar way. It’s not there on the page, but it’s always present in my plotting brain and typing fingers.
When I’m not at my desk, I play out the scenes – particularly the set-pieces – on an internal cinema, soundtracking them with music in my headphones. Almost every story peak in The Ghost was conceived in this way; the events were enhanced by a vivid awareness of the sound which surrounded them.
I suppose it’s a form of creative synaesthesia. Before I write a word, most of my moments are steeped in distinct aural flavours. I find it difficult to write a significant sequence before seasoning its mood with music in this way.
The book follows two separate timelines in the life of lead character Dorian Cook: his impoverished childhood in early 1970s industrial England, and his working life as an adult film critic in modern-day London. As the present-day Cook realises he is being held to account for his actions as a child, the past timeline builds up to the inciting event itself.
The house carried an unholy chill that flowed deep through its foundations – a vaporous spectre of cold that first stirred in late August and had the place comprehensively haunted by December.’
For the austere 70s chapters, I favoured songs which seemed to define Cook’s world: corporal punishment, factory discharge, municipal menace. The clamour and whisper of Joy Division’s Heart and Soul; the inner-city palpitations of Burial’s Loner; and the slouching panic of Nine Inch Nails’s Corona Radiata, with its sense of impending reckoning which mirrors the book’s recurring first line:
Something was coming up the stairs.’
Two key sections in the past timeline take place during the notorious UK heatwave of 1976. At the time, I remember sweltering with a strawberry Mini Milk as my tiny portable radio squeaked out Minnie Ripperton’s ever-lovely Loving You and Mungo Jerry’s lascivious In The Summertime. But for the story I was telling, I needed Sketch For Summer by The Durutti Column, with its synthetic birdsong and rebounding guitar – a song that always evokes the invincibility of childhood summers, and Larkin’s mighty line about ‘the strength and pain of being young’.
In the present day, two songs defined Cook’s marital and mental collapse: Missing by The xx – a hushed and horrified dissection of a crumbling relationship; and, as the threat from his past grows ever mortal and Cook is forced to plot a counterattack, Magazine’s The Light Pours Out Of Me sets the death-defying scene.
So, The Ghost is a novel about violence. The story is triggered by violence and it ends with violence – although not, I hope, of the sort the reader is expecting. The final sequence – a queasy kind of closure – was linked to Sigur Ros’s monolithic Festival, a song which emerges, ever so delicately, with a lone Icelandic voice keening beneath overlapping string notes. It hovers like a hummingbird, and then drops hard into a midsection of martial drumming, before lulling and at last detonating in a starburst of choral harmonies. It briefly, unbelievably, ramps up one more level before collapsing into a single voice again, this time whistling the melody.
It doesn’t give me The Chills; it gives me The Glow – a surge of whiskey-warmth. I must have heard it a hundred times and I still get it, around eight minutes in, as if something in the song is hardwired into me.
Fellow writers talk of how their characters ‘take over’ and dictate the narrative. Others claim the muse descends in a certain place, or country. For me, it’s music that guides me through, defining the lifts and rifts of the characters’ inner lives and choreographing their actions in bold, movie-like rhythms.
The Ghost has been described as a ‘dark’ book, but I hope some of my musical motivation pokes through to reveal the more complex qualities I was reaching for – redemption, restoration, courage, euphoria, enduring connection. These are all qualities I find in the music I love, which in turn rouses my writing.
Andrew Lowe is an author, editor and journalist who has written for The Guardian and The Sunday Times, and contributed to numerous books and magazines on film, music, TV, sex, videogames, and shin splints. He divides his time between various rooms of his home in London, where he writes and makes music (as half of electronic duo Redpoint). He gets out of the house by cycling and coaching youth football. The Ghost is his first novel, but it won’t be his last. Find him on his website, Facebook, Google +, Instagram and Twitter @andylowe99
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 crime and psychological thriller writer Debbie Bennett @debjbennett
Soundtrack by Alice Cooper, Soul Asylum, Bon Jovi, Skid Row, The Seekers
I always wanted to be musical. I’m sixties-born, but identify most with the 1980s – the era of the New Romantics and the beginnings of computer-generated music, but I always had the hidden desire to be a full-on rock chick with my AC-DC, Whitesnake and Rainbow albums! Yes – I did the whole biker-jacket and leather mini look too (see proof here!). I wanted to play music too, but we didn’t have a piano and it took me four years of compulsory music lessons at school to realise I was never going to get past Chopsticks! My teenage daughter is a talented musician and singer, but I don’t think the genes come down my side of the family.
So I turned my creative impulses to writing – firstly fantasy and more recently crime. My first crime novel was dark. Very dark. Part crime, part psychological thriller, we’re dealing with street drugs and rent boys, but while there are police, the story is told from the point of view of the ordinary people involved. And music plays its part in setting mood and tone.
The hero in Hamelin’s Child is Michael, who we follow through another two books – Paying the Piper and Calling the Tune. Michael goes clubbing to celebrate his seventeenth birthday and meets Eddie, after which life is never going to be the same again. Michael’s journey from middle-class suburban naivety through heroin addiction and out the other side is Alice Cooper’s I Never Cry, particularly when he’s thinking about jumping off a motorway bridge.
They’d all done their best, in their own way, to help him forget the past and he couldn’t blame them for not understanding that he didn’t want to forget. He needed to remember. It was the only way he could make any sense out of it all.’
Sometimes it’s not even the lyrics is it? It’s the mood of the piece – the actual notes in a certain sequence that can instantly transport you to a certain place or time in your life. Or even just an emotion. Synaesthesia, they call it…
Out of control
‘He bought me comics,’
Lee says, referring to the best of his mother’s boyfriends, the man who eventually decided he preferred son to mother, at which point Lee was out on the streets. Runaway Train came out in 1992 (or so my CD case tells me) and it was many, many years later when I found it on Youtube and saw for the first time that the accompanying video is all about missing kids. Strange but true.
In Paying the Piper, we first meet my bad-boy Lenny, who started out as a bit-player but I soon realised was way more involved than I’d first thought. Lenny is Skid Row’s 18 And Life, albeit with a lot more money and a public school education. It’s not until Calling the Tune that we learn of Lenny’s real childhood and he becomes far more ambiguous and complex. Lenny’s story continues into Rat’s Tale and new release Ratline and his music becomes softer and more uncertain as we get inside his head. Now it’s less rock and more Don’t Think Twice, It’s All Right (the Seekers version – way better than Bob Dylan, in my opinion).
I can’t in all honesty say I listen to music while writing, because I find any noise hugely distracting when I’m working (although a playlist on my iPhone is a Godsend in an open-plan office in the day job). But I do find that music fits the mood of the moment when I’m writing and I’ll subconsciously look for and play certain tracks – even if only in my mind.
Debbie Bennett claims to get her inspiration from the day job in law enforcement. She can’t talk about a lot of the stuff she’s seen and done over the years, but it stews and matures in her mind and often comes out in some twisted form in fiction many years later. She’d tell you more, but then she’d have to kill you afterwards. Her website is here and you can find her on Twitter as @debjbennett
My guest this week says she was always secretly a rock chick, and has provided pictorial evidence to prove it. When she turned her creative impulses to writing, music helped create the mood and tone. She writes gritty crime with a heavy dose of psychological thriller, and drew on a aural landscape of Alice Cooper, Soul Asylum, Bon Jovi and Skid Row. She is Debbie Bennett and she’ll be here on Wednesday with her Undercover Soundtrack.