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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 novelist, short story writer and award-winning book blogger Isabel Costello @isabelcostello
Soundtrack by Bruce Springsteen, Pink Floyd, Red Hot Chili Peppers, Black M, Jane Birkin featuring Serge Gainsbourg, The Goo Goo Dolls, Paolo Nutini
Music has been a big inspiration in the writing of Paris Mon Amour although I never listen to it whilst working. I love these tracks for the great sound and vocals, of course, but what I most admire in my favourite singer-songwriters (they tend to be both) is their gift for telling a story and evoking a mood in three or four minutes. The economy and intensity that come from stripping back to the essentials is something I aspire to as a novelist.
If I could only listen to one artist it would be Springsteen. He has amazing range and to me he embodies ‘goodness’, a key motif in my novel despite the characters’ numerous misdemeanours. In The River, he captures something I’m very susceptible to: the beauty in sadness (or even ugliness), as he re-lives bittersweet memories. Back story gets bad press in fiction but it’s extremely important – the key is to give it the emotional clout of the present, and this song shows how. I’m on Fire expresses passion in a mellow and understated way; my book is about a married woman of 40 whose life is upended by ‘bad desire’. In these situations, you either rein it in or find yourself the (not) proud owner of a melodrama.
I love Pink Floyd and it’s perhaps fortunate that I can’t elaborate on the many ways in which Comfortably Numb resonated both in the story of Paris Mon Amour (some will be apparent) but above all in the creative process, which coincided with a turbulent phase in my own life. It’s always the aim to leave the characters and the reader in a different place to where they started and in this case, the writer too.
Whilst we’re on the deep stuff, Californication by the Red Hot Chili Peppers is one of the few songs mentioned in the text – there’s a California connection – but again, it was very relevant to getting to the psychological core of the characters. It’s a very intelligent song: a complex questioning of what lies under the visible surface, something that fascinates me about people and places. In the book everyone’s hiding something from each other, and often themselves.
And that’s not all they’re doing. The song that spoke to me on this was On s’fait du mal (We keep hurting each other) by Parisian rapper Black M, which I discovered thanks to my teenage sons. There’s a touching openness to this tale of remorse in which he acknowledges causing pain to those closest to him, something my characters know all about. I’m moved by emotional honesty wherever I encounter it. Writing this book has made me less guarded and listening to this song played a part in that.
But for all this openness, as you’d expect of a book involving an affair, a lot goes on behind closed doors. I don’t need to get psyched up to write my sex scenes, which rarely get edited; all I need is to imagine my way into character and into the moment. Jane Birkin’s Je t’aime (moi non plus), featuring Serge Gainsbourg has become a bit of a parody – they do ham it up – but it always makes me smile and there’s plenty worth channelling: Gainsbourg has the ultimate sexy voice, the melody is languorous, the lyrics sensual yet remarkably direct, which is both characteristically French and the way I like it.
Paris Mon Amour is definitely a love story as opposed to a romance novel, but it’s still the first time I fully unleashed my inner romantic, knowing if I didn’t feel it, nobody else would. To this end I often listened to Iris by the Goo Goo Dolls, which is the most heartrendingly beautiful expression of love I’ve come across. It makes me feel a weird mixture of euphoria and devastation, both of which I needed to capture. Again there’s that sense of vulnerability, where in falling for someone you surrender part of yourself you won’t ever get back, and of the most intimate connection possible between two people, which is never ‘just sex’, as Alexandra discovers to her cost.
If her lover Jean-Luc had been a more typical 23-year-old guy, she would never have ended up in such a mess. He may not have been interested in her either. But just as some people notch up decades learning nothing, others aren’t limited by their lack of life experience. (I couldn’t have written this book any earlier.) My final song, Last Request by Paolo Nutini, is stunning but painful to listen to. It barely seems possible that he was only 19 when he wrote it 10 years ago – it helped me uncover the character of Jean-Luc, which only fully emerged in the later stages, and to explore in depth what he and Alexandra had together. It’s a great feeling when you find the missing piece.
Isabel Costello is a novelist and short story writer who lives in north London. Her debut novel Paris Mon Amour was released in June 2016 in digital (Canelo) and audiobook (Audible). Isabel’s work has been shortlisted in the Asham Award, the Short Fiction Journal Prize and the inaugural Room to Write competition judged by Pat Barker. She hosts the Literary Sofa blog, where you can find her selection of recommended Summer Reads 2016, and was recently longlisted for Best Reviewer in the Saboteur Awards 2016. She can often be found talking about books on Twitter @isabelcostello.
Asham Award, Black M, Bruce Springsteen, California, Canelo, contemporary fiction, Isabel Costello, Jane Birkin, Literary Sofa blog, music for writers, Paolo Nutini, Paris, Paris Mon Amour, Pink Floyd, Red Hot Chili Peppers, romance, Serge Gainsbourg, Short Fiction Journal Prize, The Goo Goo Dolls, women authors, writers and music, writing with music
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 my guest is debut romantic thriller novelist Stacy Green @StacyGreen26
Thanks so much to Roz for letting me share parts of the soundtrack for my debut novel, Into The Dark. I don’t always write to music, but I tend to turn to it when I’m having trouble getting motivated to write or slogging through a scene that just won’t work.
Into The Dark is a romantic thriller at its heart. The book starts off with a bank robbery in Las Vegas. Two masked men storm the bank, and one only has eyes for branch manager Emilie Davis. SWAT and quick-thinking hostage negotiator Nathan Madigan manage to save Emilie, but her life is sent into a tailspin with the stalker’s dramatic escape.
As I wrote those scenes, I wanted to convey the idea of one person’s determination to possess another. The villain, who becomes known as the Taker, spent months planning his kidnapping of Emilie. He is desperate and traumatised in his own way, and the Taker’s most interesting feature is that he isn’t all bad. He’s far from it, and Death Cab For Cutie’s I Will Possess Your Heart captures his torment perfectly.
The Las Vegas storm drains, known as the tunnels, house more than 200 homeless people at any given time. While most are addicts in various stages of addiction, they are also forgotten human beings just struggling to survive. It’s a way of life that breaks my heart, and one I hope to bring attention to.
The tunnels, although only in a handful of scenes, play a pivotal role in Into The Dark. From the moment I heard it, Jason Mraz’s Halfway Home captured the sadness and isolation the homeless must feel, and it was easy to envision the tunnels scenes when this song played.
At the core of the book is the understated, budding romance between Emilie and Nathan. He’s a SWAT officer, and she is an open case, but he is drawn to her. Because Nathan is driven by a mistake in his past he feels the need to atone for, he considers himself responsible for the Taker’s escape. He sets out to help Emilie, and their forbidden romance is a slow burn throughout the book.
Ray Lamontagne’s Let It Be Me has been Nathan and Emilie’s song from the start, back when I only knew he would do anything to save her, and that they were tied together by their mutual past heartaches.
Thanks again to Roz for having me. If you’re a writer, what music influences you? Readers, do you hear a soundtrack for books when you’re reading?
Stacy Green is fascinated by the workings of the criminal mind and explores true crime on her popular Thriller Thursday posts at her blog, Turning the Page. After earning her degree in journalism, Stacy worked in advertising before becoming a stay-at-home mom to her miracle child. She rediscovered her love of writing and wrote several articles for Women’s Edition Magazine of Cedar Rapids, profiling local businesses, before penning her first novel. Her debut novel, Into the Dark, is published by MuseItUp and available on all digital formats and paperback and is $2.99 for a limited period (use Smashwords coupon Code CF97D. Find her on Facebook and Twitter @StacyGreen26
GIVEAWAY and special contest! Leave a comment for a chance to win a signed print copy of Into The Dark. And sign up for Stacy’s newsletter by January 31st for a chance to have a character named after you in her upcoming Delta Crossroads Series. She says she only contacts subscribers when she has news to benefit them, and they will have exclusive pricing for her upcoming books.
authors, contemporary fiction, contest, crime, Death Cab for Cutie, Delta Crossroads, drama, entertainment, giveaway, hostage negotiator, Into The Dark, Jason Mraz, Las Vegas tunnels, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Ray Lamontagne, romance, Roz Morris, signed copy, Stacy Green, The Undercover Soundtrack, thriller, undercover soundtrack, women authors, Women Writers, Women’s Edition Magazine of Cedar Rapids, 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'