Posts Tagged undercover soundtrack
The Undercover Soundtrack is a series where 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 essayist, playwright, journalist and novelist Victoria Dougherty @vicdougherty
Soundtrack by Johnny Cash, Frankie Laine, Dolly Parton, Garth Brooks
I haven’t always been a die-hard country music fan.
Having grown up in Chicago, and subsequently moving to other cities like Prague and San Francisco, I was raised on a steady diet of screaming guitars, blues, a smattering of jazz, and the occasional hipster band.
Don’t get me wrong – I still love them all! They’ve been the soundtrack to some of the best times in my life and when a song like Jane’s Addiction’s Been Caught Stealing comes on the radio in my car, I go off like a firecracker – pounding my hands on the steering wheel and frightening my children.
It wasn’t until I was in my early 30s and actually moved to a rural area that country music made its way onto my radar. Then, like the wrong kind of man, it wormed its way into my heart, leaving The Clash, Bowie, countless British New Wave bands and Madonna lonely for play.
I’ve got to admit that a lot of my city slicker friends have found my new taste in music questionable. For the most part, country music to a city person runs neck in neck with elevator music and polkas when it comes to their listening pleasure.
And I used to be right there with them.
It took changing my habitat dramatically to inspire me to learn an entirely new repertoire of songs that have little to no relationship with the good ole days of my teens and 20s.
I slowed down, started working out of my home office, and found myself noticing how the breeze would blow through so many leaves on a summer evening that I’d swear I was listening to wind chimes. Without even meaning to, I got to know – intimately – the movement of sunlight throughout the day and the phases of the moon. I can’t sleep when the moon is full, I’ve learned, so I might as well put on something soft. Maybe Willie Nelson.
It was finally seeing what a holler really looked like, and hearing the truly terrifying shriek of a fox’s mating call. Driving on roads called 22 curves (and for good reason), drinking whiskey in a rocker on my front porch (yes, we really do that), or hearing my daughter say her dream car is a pick-up truck (not kidding here).
Still, all of those genteel country living experiences led me to water, but they didn’t make me drink. What did was my congenital love of a great story.
Because in country music, I’d found some of the best lyrical storytelling I’d ever heard, and it was not confined to the usual trilogy of sex, drugs and teen angst that can make great music, too, but gets a bit repetitive. And frankly, loses its oomph after you’ve had a kid or two.
Even some of the schlockiest country tunes tend to have very adult themes that present a complicated set of circumstances. Like a good book.
A country singer will warn you not to come home a drinkin’ with lovin’ on your mind, tell you to stand by your man, lament that if their phone still ain’t ringin’, they assume it still ain’t you. They teach you how to play the game of life through a game of cards, fall into a ring of fire, and go to Jackson, Mississippi looking for trouble of the extramarital variety. They sing about their daddies and their wayward loves, their friends, their problems, the mountains they grew up drinking in like moonshine. They take you this close to their face, till you can smell their breath.
And over the past decade – more than poetry, even more than reading fiction – country music has inspired the way I’ve constructed the personalities of some of my favorite fictional characters.
Johnny Cash’s Delia, A Boy Named Sue and Number 13 colluded to help me create a bulimic Hungarian assassin with a penchant for rich food and sadistic murder…and a heart for only one woman.
Excerpt from The Hungarian by Victoria Dougherty, coming this Summer:
He held the goblet up to Lily’s swollen lips and poured the wine into her mouth, massaging her throat – as if he were force-feeding a goose. She winced. Even with her eyes ringed in purple bruises she looked beautiful, and her torso, sadly, was still too sore to allow her to get up for a short dance. He’d longed to dance with her since the end of their first day together, but by then he already knew she wouldn’t be getting up for some time. It was a good thing he hadn’t marred her body very much. Gulyas knew how to inflict pain without the resulting unsightliness, but until Lily Tassos had come into his life, there had never been any point in keeping a would-be corpse in tip-top shape. A disfigured body, Gulyas believed, made a good statement in most cases. It let people know who they were dealing with.
Frankie Laine’s Wanted Man showed me how impulsivity and desire can spawn a fledgling outlaw.
Here’s what was inspired by it: The Bone Church. Dolly Parton’s Touch Your Woman guided my hand in writing a heartbreaking love scene between two characters about to face their doom in my novel Breath (coming 2018).
And Garth Brooks’s Friends in Low Places, about a regular guy who crashes his ex-girlfriend’s wedding to a high roller, always reminds me to give my characters a sense of humor – even amidst some of their most painful, cringy episodes. Here’s me telling a great story inspired by his song. Welcome to the Hotel Yalta.
These artists have taught me not to waste words and to tell a compelling story in the shortest amount of time possible, so as not to bore a reader with competing descriptions and over-wrought emotions. Time and again, they’ve reminded me that I don’t need a shoot-out or car chase or even a bunch of sex to put tension or excitement into a scene.
And they’ve shown me that having heart and brazen sentimentality can illustrate a powerful truth that kicks even the most cynical reader in the gut.
So, writers…and readers…next time you need to boost your imaginations, or just want to hear a great yarn – find your local country music station (I swear, even big cities have one), sit back, put your boots up and have a listen.
Victoria Dougherty is the author of The Bone Church, Welcome to the Hotel Yalta and the memoir Cold. She writes fiction, drama, and essays that revolve around lovers, killers, curses, and destinies. Her work has been published or profiled in the New York Times, USA Today, The International Herald Tribune, and elsewhere. Earlier in her career, while living in Prague, she co-founded Black Box Theater, translating, producing, and acting in several Czech plays.Her blog – COLD – features her short essays on faith, family, love, and writing fiction and was singled out by WordPress as one of their top recommended blogs by writers or about writing. Catch her on Facebook and on Twitter @vicdougherty
My guest this week is another returner to the series. When she posted about her first novel, her preoccupations included memory and time, and they return again in this new work – a romantic thriller based around the twined stories of an ancient memoir and the world’s first Tarot cards. Music was key to creating these different lands and lives and her mental soundscape includes a tour through ancient Egypt, Milan in the 1400s and the modern seers Dead Can Dance. She is Gwendolyn Womack and she’ll be here on Wednesday with her Undercover Soundtrack.
My guest this week is one half of a collaborative writing team known as ‘Christoph Martin’ – which is actually the two minds of Libby O’Loghlin and Christoph Martin Zollinger. Together they are writing the Expansion series of four political thrillers, and music became a common language that helped them keep their ideas in tune. Spanish-language pop from Nicky Jam helped establish some of the locations; Benjamin Clementine suggested a plot twist; and when a character faces terminal illness, David Bowie’s final album Black Star was a guiding light. Drop by on Wednesday for their Undercover Soundtrack.
The Undercover Soundtrack is a series where 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 MG/YA novelist and vignettist Theresa Milstein @theresamilstein
Soundtrack by Coldplay, Madonna, Seal, Nik Kershaw, the Smiths, the Smashing Pumpkins, the Cure, Colin Hay, Seatbelts, Arcade Fire
My new collection of vignettes, Time & Circumstance, was written over the span of five years, so many songs influenced its creation. I honored this connection when I named the two sections of the book. The first section, filled with prose pieces, Tempo Adagio, evokes a slower pace. The second section, filled with poetry, Tempo Allegro, evokes a brisk pace. I couldn’t imagine this collection coming together without musical influence.
Coldplay’s song Violet Hill inspired my early flash fiction piece Violet’s Hill. The darker sound and the first lyrics about a bleak December and his plea during the melody set the right mood for the story of unrequited love. I originally wrote the piece for an anthology, 100 RPM: 100 Stories Inspired by Music.
For the short story Injustices, a stalker is watching a woman dancing in the apartment across the alley as he imagines her listening to Madonna. I heard the song Like a Prayer because it has the right tempo for someone getting ready for work in the morning. Although it’s different than the music I usually listen to, the song helped me pictured the scene more vividly.
When I wrote the story Left-Behind about death and Birthday about a miscarriage I experienced, I listened to Seal’s 1994 album, especially the song, Don’t Cry. A few songs are about mourning, which helped me deal with the feelings of loss.
The poem 1986 brought back my days as a punk girl hanging in New York City. Because I mention the movie Pretty in Pink, I thought about the soundtrack’s influence on me. Two songs from the soundtrack I especially connected with are Wouldn’t it Be Good by Nik Kershaw and Please Please Please Let Me Get What I Want by The Smiths. I was an angst-ridden teen.
Steam Punk is about a caustic relationship. To get in the mood for that, I listened to one of my favorite songs, A Forest by The Cure because of the strong beat and mood.
I recalled my first years of marriage when I wrote First Apartment. Grunge was big then, and I especially loved Smashing Pumpkins. Their album Mellon Collie and the Infinite Sadness played when I wrote it. My favorite song from that album is 1979. It was a coming of age into adolescence song for songwriter and singer, Billy Corgan, and here I am using it as a coming of age into adulthood song for me in the 90s. We’re both experiencing nostalgia.
I actually credit the song Waiting for My Real Life to Begin by Colin Hay for the Revision poem, which humorously portrays writer’s block. In a moment when I was feeling particularly down about my work and thought I’d never become published, I listened to his song over and over.
The song Measure is about my son practising his sax. When he joined jazz band, he always warmed up with the same tune. One day, it struck me how much he’d improved. The song started as an intrusion into our home, and then became pleasant background. When he goes off to college, I will miss it. I don’t have a clip of him practising, but I do have Tank by the Seatbelts.
The last song in the collection that inspired me was The Suburbs by Arcade Fire from the album The Suburbs for the poem Boundaries. I wrote it in response to the hateful political rhetoric I’d been hearing to contrast it with my experience working with immigrant children in a school and also compared it with my children’s experience living in a suburb. For me, the song symbolizes the destruction of the west. It became the perfect background for the feelings I needed to express.
The back cover of Time & Circumstance states: ‘the unrelenting passage of time connects the vignettes’. Reviewing my song choices as a soundtrack, I have a strong sense of nostalgia tying the collection together. It was nice to relive some of my favorite teen songs when writing some of these pieces. I also appreciate the tone of the songs reflecting the many poignant moments throughout the collection.
Theresa Milstein writes middle grade and YA, but poetry is her secret passion. Her vignette collection, Time & Circumstance, is published by Vine Leaves Press. She lives near Boston Massachusetts with her husband, two children, a dog-like cat, and a cat-like dog. For her day job, she works as a special education teacher in a public school, which gives her ample opportunity to observe teens and tweens in their natural habitat. Find her website here, contact her on Facebook, or tweet her @theresamilstein.
My guest this week has just published a collection of vignettes. They’re linked by a sense of time passing, anniversaries both happy and sad, and nostalgia. Music was the way to capture and preserve the essential moments and personal memories she wanted to examine, so the soundtrack was a soundtrack to her life too. She is Theresa Milstein and she’ll be here on Wednesday.
The Undercover Soundtrack is a series where 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 award-winning historical fiction and contemporary romantic novelist Nicole Evelina @nicoleevelina
Soundtrack by Sting, Fever Ray, The Civil Wars, Black Veil Brides
Every one of my books has a theme song/album – music without which the book never would have been written.
Capturing the essence of a legend
The theme song to the Guinevere’s Tale trilogy is “ Thousand Years by Sting. This song came out just weeks after I began writing Daughter of Destiny, the first book in the series. There is something about the cyclical sound of the melody that calls to mind reincarnation, the thousands of versions and re-tellings Arthurian legend has gone through over the ages. It also evokes to me the changing nature of the characters as artists reinvent them to fit their time. In the prologue to the book, Guinevere explains that not a single version you’ve heard has been right; she is going to set the record straight in the trilogy by telling the true story of her life. In so doing she can reclaim her name and her dignity from years of slander and abuse.
Plunging into the mind of a killer
The sequel, Camelot’s Queen, has one of the longest playlists of any of my books, most songs aligning with or inspiriting certain scenes. But the most influential album was the soundtrack to the movie Red Riding Hood, specifically the songs by Fever Ray, The Wolf and Keep the Streets Empty for Me. I listened to that soundtrack over and over while I wrote the section of the book dealing with Guinevere’s kidnapping by Malegant – one of the most detailed and longest parts of the book, and also my favorite. There is something feral about this music – wild, dangerous and dark – that fit perfectly with evil in Malegant’s soul. For Guinevere, the experience was the ultimate nightmare, not just for any woman, but especially for a priestess and queen. By his vile actions, Malegant stripped her of her power and her dignity, and unknowingly changed the course of her life – and that of all of Camelot. Scenes of such dark subject matter and import need equally powerful music. It doesn’t hurt that these songs could well have been used for a Samhain ritual, the event during which Guinevere’s torment begins.
Longing for an unknown love
My contemporary romantic comedy, Been Searching for You, actually came about because of a song. In November 2012, my best friend introduced me to the song To Whom it May Concern by The Civil Wars. Knowing I’m a die-hard romantic still looking for my soul mate, she thought I’d be able to relate to the lyrics about missing and waiting for someone you’ve never met, but you are certain is out there. Oh boy, did I. That song is actually why Annabeth writes letters to her soul mate on her birthday each year in the book.
As I got to know more of The Civil Wars’ music, I fell in love with a second song, Dust to Dust. It feels to me very much like a bookend to To Whom it May Concern. To me, it’s the song for when the two lovers who hadn’t met yet in To Whom It May Concern have gotten together, overcome their struggles and realised they finally found one another. So I challenged myself to write a story that began with the words ‘To whom it may concern’ and ended with the words ‘dust to dust’. That book is Been Searching for You.
Remembering a forgotten historical heroine
Not many people would put a metal song and a feministic manifesto at the top of their influences for writing biographical historical fiction about the first woman to run for President in the United States in 1872 – but I think we’ve already established I’m not normal. In the End by Black Veil Brides is my song explaining the urgency I felt to write Madame Presidentess, the story of Victoria Woodhull, a nearly forgotten, but crucial, figure of the American suffrage movement. There’s a line that asks who will tell the story of a person’s life. I was that person for Victoria. I also loved the theme of not being afraid to die and leaving something behind for future generations, both of which Victoria would very much be in agreement with. As a spiritualist, for her death and life were one, and I have a feeling she’s still not done doing her work here on earth – or at least not until her name is in the history books where it belongs.
Victoria’s theme song is Woman (Oh Mama) by Joy Williams (formerly of The Civil Wars). It chronicles woman’s roles throughout history – caregiver, life bringer, helpmeet and victim – how she has been seen by men – from Madonna to whore and back again – and the identities she has reclaimed to be her own – goddess and fabric of the universe. Victoria was a very strong woman, who by her own admission was years beyond her time, so I know she would proudly sing this song and declare herself strong and free.
Nicole Evelina is a multi-award winning historical fiction and contemporary romantic comedy author from St. Louis, Missouri. Her debut novel, Daughter of Destiny, was named Book of the Year by Chanticleer reviews. She’s now at work on her first non-fiction book, tracing the evolution of Guinevere over the last 1,000 years of literature, and is also finishing the final book in her Guinevere’s Tale trilogy, Mistress of Legend, which will be published later this year. Learn more about her at nicoleevelina.com or follow her on Twitter, Facebook, Instagram or Pinterest.
I had a hard time this week picking just one pull quote to represent my guest’s work. She’s a writer of two halves – historical romantic fiction and contemporary romance. And she’s now also venturing into biographical historical fiction as well. The common thread is always music. A song by Sting that evoked for her a sense of an untold angle for the Arthurian legend. Or a friend who recommended music by The Civil Wars that gave her the opening and closing lines of a modern romance. What could be more fitting with Valentine’s just around the corner? Drop by tomorrow for the Undercover Soundtrack of Nicole Evelina.
The Undercover Soundtrack is a series where 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 2016 Man Booker Prize nominee Wyl Menmuir @WylMenmuir
Soundtrack by William Basinski, Claude Debussy, Kris Drever, Richard Hawley, Andy Othling, Puerto Muerto and Maurice Ravel
In Cornwall you’re never far from the sea, so it’s perhaps not surprising that its sounds would influence my debut novel, The Many. The writing of the novel – much like its setting and characters – was drenched in cold Atlantic waters, and I wrote much of the first draft while walking, out of season, along the coast. Its first soundtrack was waves against cliffs, wind and rain against the hood of my coat, and I knew I wanted the reader to have those sounds in their ears as they walked with my characters through down onto the novel’s oil-streaked beach.
When I was writing at my desk, though, I was quite specific about the sounds to which I exposed myself. I oscillated between listening to spacious, dreamlike, ambient soundscapes that conjured up the spirit of place, and folk music (mostly sea shanties) which at first I thought was pure procrastination – I can’t write while listening to anything that has lyrics – but the essence of which seeped into the novel.
I remember making a series of notes early on, during Falmouth’s famous sea shanty festival, while the town’s bars and squares overran with music and singers competed for their place in the street soundscape. I love shanties (the raucous and outrageous, the obscene and the melancholy), but the songs I was listening out for then were the ones that told stories of loss, of the lives and loves the sea had claimed.
For most of the time I was writing The Many, I felt my way through the novel, picking at the surface to find out what deeper truths might lie beneath, which was similar, somehow, to the experience of wandering through Falmouth, between singers and songs, where I had to listen hard between the competing sounds for the thread of the melody I wanted to hear. All the characters in The Many are trying to make sense of their own grief, or struggling with it in some way and for a while I listened, on loop, to Richard Hawley’s Shallow Brown, suffused as it is with suffering and sorrow. The version I listened to over and again wasn’t anything traditional, but Hawley’s take on it – stripped back and unadorned – seems to hint towards a depth of loss of which I wanted to speak in The Many. Similarly, there was something in Kris Drever’s rendition of Norman McLeod’s air, Farewell to Fuineray, that captures an almost ineffable sense of grief and the tune of which I would pick at on my guitar while thinking about the story (though it’s worth noting that both Fuineray and Shallow Brown speak of very different griefs to those I explore in The Many).
When they bring Perran back in, they have covered him with a tarpaulin. The men on shore run forward and drag the boat up onto the beach and, when it comes to rest, one of the men pulls the tarpaulin back and Ethan sees he is curled up in the bottom of the boat like a child sleeping.’
The novel is suffused with dreams – waking, fevered, terrifying – and writing these dreams was accompanied by long periods of listening to ambient artists such as Andy Othling. I found many of the dreams in the space Othling leaves within his reverb-soaked guitar loop soundscapes.
And more than any other single artist, the shape of the novel was inspired by William Basinski’s Disintegration Loops. My editor, Nicholas Royle, put me onto Basinski, and when I first listened to Disintegration Loops, it felt to me as though they could have been created for the novel I was writing. The loops and repetitions, the crackling degradation, the combination of the tonal and the atonal, combined with the story behind the recordings, the physical disintegration of the tapes, accompanied and perhaps inspired – I’m not sure now – the disintegration of the landscape and the characters within The Many.
He can feel the village starting to break up. He knows for sure, too, that the cracks run through the decks and the holds of the container ships on the horizon and that thought gives him some comfort.’
And sitting somewhere beneath this soundtrack, was the music that provided the bedrock for the novel as a whole: Ravel’s Pavane pour une enfante defunte and Debussy’s Clair de Lune, with their wandering melodies and otherworldliness, their exquisite evocations of beauty and pain, were catalyst pieces and I wrote much of the final third of the novel with these two pieces playing in the back of my head, pulling me back to the novel’s origins, reminding me of the essential truths at which I was aiming.
A final note: I’m often asked about the woman in grey who appears in the novel and I’m not great at answering who she is, but anyone looking for an answer could do worse than look for her in Muerto Country.
Wyl Menmuir was born in 1979 in Stockport, Cheshire. His first novel, The Many, was longlisted for the 2016 Man Booker Prize and made the Observer top fiction of 2016 list. He lives on the north coast of Cornwall with his wife and two children and works as a freelance editor and literacy consultant. Read more at wylmenmuir.co.uk and follow Wyl on Twitter @wylmenmuir. Find The Many on Amazon.
The Undercover Soundtrack is a series where 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 award-winning poet and debut novelist Stephanie Gangi @gangi_land
Soundtrack by Van Morrison, Talking Heads, The Lumineers, Rihanna, Adele
The Next is a classic revenge story. Joanna DeAngelis is betrayed by her younger lover, becomes obsessed following him on social media, and decides to make him pay for what he’s done to her. The twist is this: she dies in this state of rage and her ghost carries out the revenge mission. But it’s another kind of story, too, a journey out of the dark for all the characters — her daughters, Anna and Laney; the betrayer, Ned McGowan; and even her loyal dog, Tom — and into a kind of enlightenment brought on by moving through grief. The Next is filled with music, from my head and on the page, but these in particular.
This song kills me, and I’m not the world’s biggest Van Morrison fan. I think it’s fair to say that every single time I hear it I well up with tears (or if I’ve had a glass of wine or two, I burst). There is something so poignant and elemental (and Irish!) about Van’s voice full of resignation and longing, such a powerful combination. When he sings about searching for home, quietly but relentlessly, it speaks perfectly to my ghost protagonist Joanna’s quest. All our quests! After a certain age, after life has thrown everything at you, after you understand how to pick yourself up and keep going, how to honor the sorrows and the joys, you – and Van — know in your bones that it’s a hard road.
This Must Be The Place (Naïve Melody) by Talking Heads, covered by the Lumineers
For some reason, the Talking Heads called to me during the writing of The Next. I don’t always know what they’re on about, but there’s something timeless and quest-y and unique about the band’s songs – there’s a Wes Anderson vibe to the Talking Heads. The song Naïve Melody lyrically communicates to me the complexity of long-haul love. The Lumineers’ version is one of those covers that, to my ears, surpasses the original. Wesley Schultz has a boyish quality to his voice that sounds like yearning, whereas David Byrne’s insistent, yelp-y delivery is wonderful but feels almost ironic. The Lumineers capture the exhilaration and challenges of being in love, the longing to find “home” within the lover, and also, the inevitability of regret. I don’t know – it’s a complicated song brimming with humanity, the struggle to be known, and seen by a lover. The unbearable disappointment when love leaves – my character Joanna is driven to rage and a quest of revenge because of the depth of that disappoinment. And yet, I can’t put my finger on exactly what the song means – which is probably just what David Byrne intended.
Bitch Better Have My Money by Rihanna
You can keep Beyonce, I am wild for Rihanna. I love her effortless Carib-girl swagger and her unapologetic (yep, it’s an album title of hers, too) persona. She does badass like nobody else, except maybe Helen Mirren. One of my favorite lines of my book (can I say that?) is: “Bitches are made, not born,” and Bitch Better Have My Money gives us Rihanna at her most insistent, bitchy, bitch-slapping finest. The track is both rapped and sung, and it’s got a pounding beat with a lot of repetition that just kind of gets under my skin. I can’t say I love the video – it’s gratuitous and violent and misogynistic and kind of racist – but the angry song makes me want to take revenge on anyone who’s done me wrong. Of course, I’m too chicken for that, so I get up and dance instead. When I was writing The Next, Rihanna helped me “try on” the anger I don’t normally feel in real life, and the dance breaks energized me so that I could get back to the chair and stay put and drive on!
Is there any better revenge song? It was released at the end of 2010 and coincided with the end of a relationship for me. For the next year it came at me from everywhere –car radios, doctor’s offices, the earbuds of the person sitting next to me on the subway, every store I stepped into including the grocery store and the dry cleaner’s. I am not kidding: I had a root canal and the nurse put headphones over my ears to drown out the drill and distract me, and what song comes on first? Yep. I am as captive as anyone else to Adele’s power and I could not get that tune out of my head. When I sat down to read the actual lyrics, I was pleasantly surprised at how vengeful they were and even a little bit violent, with the talk of taking every piece of this guy, and making his head burn. I was having dark thoughts I would never, ever act upon but listening to Rolling in the Deep helped me let myself fantasize about a woman who is so betrayed and broken that she can not let go of her anger, even as she lay dying. And that anger traps her – as anger does. I had to write it. Adele does a vocal deep dive into the dark blues with a ticking strum and pounding behind her. What a vocal performance! It still gives me chills. She attacks and mourns at the same time – exactly what I wanted my protagonist to do.
Stephanie Gangi lives, works and writes in New York City. She is an award-winning poet, and The Next is her debut novel and is published by St Martin’s Press. She is at work on her second novel. Find her on her website, Facebook, and Twitter @gangi_land