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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 women’s fiction writer Anne Stormont @WriteAnne
Soundtrack by Rufus Wainwright, Tom Baxter, Van Morrison, Elbow, Cat Power, Neil Diamond, Louis Armstrong, Glen Hansard and Marketa Irglova, Don Maclean, Military Wives, Blair Douglas, Greg Laswell, Bat for Lashes, Ungar and Mason
It took me almost a decade to write and publish Change of Life. It was a brush with mortality following my diagnosis with ovarian cancer in 1998, and an Arvon Foundation writing course that finally spurred me into getting my writing act together. And so, while teaching full time and putting the finishing touches to my fledgling adult children, I began.
I love music. I have eclectic tastes, from musicals, to Scottish traditional, through hard rock, and classical to contemporary. I’ve always had a soundtrack running in the background. I studied for high school and university exams with 1960s and 70s rock and pop in the background. I got through my cancer treatment to a background of songs by the Lighthouse Family and others, put together by my daughter on a mixtape – remember those?
And it has continued to be music that provides me with focus. While I’m writing, even if I’m not consciously hearing it, it’s on and it keeps me in the zone. It’s very much a mood thing for me. Much like inhaling a reminiscence-filled scent, a few bars of the right music and I’m transported.
Change of Life has two main characters, husband and wife, Tom and Rosie. The narration is in first person and Tom and Rosie take it in turns to tell their story.
Tom, being male, was a challenge to write, but it was one I relished. To get into his head it was Rufus Wainwright’s Do I Disappoint You, Tom Baxter’s My Declaration and Van Morrison’s Have I Told You Lately that did it. Tom betrays Rosie’s trust and, when their resulting separation after more than 20 years of marriage, and Rosie’s diagnosis with breast cancer threaten to rob him of his wife forever, he has to do a lot of soul-searching and face up to some difficult truths. These tracks captured both Tom’s anger and his yearning. They helped keep me ‘in character’ and to tap into the appropriate emotions.
Making the switch to Rosie’s head was helped by Elbow’s Grounds For Divorce, Cat Power’s Woman Left Lonely and Neil Diamond’s You Don’t Bring Me Flowers. She also experiences anger and yearning, but this is overlaid with the fear that her cancer may kill her. When writing these darker passages it was Louis Armstrong singing We Have All The Time In The World that helped me bring out the poignancy of her situation.
Then as the story came towards its conclusion, it was If You Want Me by Glen Hansard and Marketa Irglova, along with And I Love You So by Don Maclean that kept me focussed and at the right emotional temperature.
For my new novel Displacement, it was mainly the Military Wives album In My Dreams that helped me set the tone. Again there are two main characters, Rachel and Jack. Two very different characters, both with their own demons, they meet in dramatic circumstances on the Isle of Skye. Rosie, a sheep farmer and writer of children’s books, is grieving for her dead soldier son, and retired policeman, Jack, is facing up to some difficult truths about himself. They begin an unlikely friendship. The story is set on Skye and in the completely contrasting, but no less dramatic landscape of Israel/ Palestine. The Soldier’s Lullaby and Sonamarg by Skye musician Blair Douglas also featured in supporting roles, as did Your Ghost by Greg Laswell. This last one captured Jack’s longing and conflict perfectly. I should also mention Wilderness by Bat for Lashes, which perfectly reflects both the natural wilderness of Skye and the Middle East and the inner wilderness of the two main characters. And finally, the Ashkovan Farewell by Ungar and Mason was the one track that broke through any resistance I felt when I came to the desk to write this novel. It just led me straight in. What more can a writer ask of their musical soundtrack?
Anne lives in the Scottish Hebrides. She can be a subversive old bat, but she maintains a kind heart. She’s about to take early retirement after 36 years as a primary school teacher. Her stories are about and for the sometimes invisible women; the 1960s feminists; women in their late 40s, 50s, 60s and beyond; thinking, feeling, loving, intelligent women. There is a strong element of romance in her books, but she’s resistant to the restrictive ‘romantic fiction’ label as she likes to think there’s more to her novels than just romance. Her first novel, Change of Life, is about to be republished under her own imprint Rowan Russell Books and, her second novel, Displacement, is due to be published at the end of May. Her work-in-progress is a children’s novel called The Silver Locket and is scheduled for release in the summer. Anne tweets as @writeanne and she blogs at http://putitinwriting.me She also writes for Words With Jam and is a member of the Alliance of Independent Authors.
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My guest this week describes her books as stories about and for the sometimes invisible women; the 1960s feminists; women in their late 40s, 50s, 60s and beyond; thinking, feeling, loving, intelligent characters who are steering their lives through choppy waters. She says she uses music as a short-cut to their inner wilderness, with signature songs that conjure their hearts and minds, even on the most uninspired days. She is Anne Stormont and she’ll be here on Wednesday with her Undercover Soundtrack.
1960s feminists, Anne Stormont, authors, Books by Women, Change of Life, contemporary fiction, contemporary women, contemporary women's fiction, Desert Island Discs, drama, entertainment, feminism, intelligent characters, invisible women, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, romance, Roz Morris, The Undercover Soundtrack, undercover soundtrack, Women Writers, Women's fiction, Words with JAM, writers, writing, writing to music
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 Writer Unboxed co-founder Therese Walsh @ThereseWalsh
Soundtrack by Robert Plant, Alison Krauss
I haven’t been shy in admitting that I wrote much of my second novel, The Moon Sisters, in a state of fear. Fear that I wouldn’t be able to finish the draft, that I didn’t have a second book in me, that I’d fail despite — or because of — a two-book contract. But a duo of songs helped root me to characters in my story, and whenever I needed to be reminded that these characters deserved for their tale to be told, I brought up this particular music.
Both songs are from an album featuring Robert Plant and Alison Krauss called Raising Sand. The album is laced with conflicting ideas that somehow work; it’s there even in the notion that rocker Plant and bluegrass star Krauss might make music together. But there’s also balance and ingenuity with the merging of their unique approaches; and if this music lives at the edges, then it fits all the better with my lives-at-the-edges novel and its characters.
A gypsy quirk
Sister Rosetta Goes Before Us, sung by Krauss, is the first song that spoke to me, with a gypsy quirk and haunting melody. Its bluegrass spirit complements the setting of the book, West Virginia, where you might indeed hear the bright pluck of a banjo marry with the darker sound of a tensely bowed violin.
This was the perfect anthem for Olivia Moon, who sets off by foot at the beginning of The Moon Sisters to find a will-o-the-wisp light in order to fulfill her dead mother’s dreams. She’ll wander and hop a train and sleep under the stars, stretching personal boundaries that are already plenty different from those around her—especially her sister, Jazz, who has the opposite of a gypsy’s spirit and would rather be in control and safe and left to herself, thankyouverymuch.
It wasn’t just the sound of the music that summoned up Olivia Moon for me; the lyrics were spot on, too. Mmm, don’t you love the poetic weirdness of this? I do. Music, summoned from somewhere unknown. Secrets. The sound of hope. Olivia Moon loves this song. I would venture to say that it’s her favorite. She sways out of time with the music because she’s pondering the sound of hope, even the taste of it. She has synesthesia, a condition whereby her sensory areas are jumbled. She can tell you about coloured letters and the look of a song up above your head, or the way the sun smells like her mother. (She probably won’t want to talk about why she stared at the sun after her mother died and why she’s lacking her central vision, but maybe you’ll pull it out of her before the end of the book.)
The second song that spoke to me, sung by Plant, is called Nothin and immediately called to mind an essential character: a train-hopping drifter named Hobbs. Hobbs hasn’t had an easy life, and this song’s driving blend of eff-you electric guitar, down-home-and-dirty fiddle, and what-ya-gonna-do-about-it tambourine speaks to that. It evokes a damaged person, and if you were to stick a label on Hobbs you might choose that word — damaged. He’d notice that and pat you on the back for your smarts, then send you on your way without hearing an argument.
Motherless Hobbs nodded whenever this song played, and wasn’t one to condemn Olivia’s staring at the sun either, maybe because he understood that bit in the second-to-last verse about how being born is going blind.
The tune itself is dark and uncomfortable and winding, like a train, and feels too personal yet I never could turn away from it. Listening to it helped me to stick with the story, which was just as dark and uncomfortable and winding, and made it just as impossible to turn away from it.
Thank you, Roz, for the chance to share the sound behind the story.
Therese Walsh’s second novel, The Moon Sisters, is published by Crown (Random House). She’s the co-founder and editor-in-chief of Writer Unboxed, a site that’s visited daily by thousands of writers interested in the craft and business of fiction. You can learn more about her and her books on her website, Facebook and Twitter.
GIVEAWAY Therese is giving away a print copy of The Moon Sisters to a commenter here! To enter, leave a comment here, and if you share the post on other social media that counts as extra entries (but don’t forget to note that in your comment on this post)
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My guest this week felt daunted when she embarked on her second novel, worried that she didn’t have the mileage to finish. A duo of songs kept her on course, gave her confidence and made her believe in the reality of her characters and their story. And two is a recurring theme as her novel centres around a pair of sisters with damage, strange hearts and unusual senses. As co-founder and editor-in-chief of Writer Unboxed, my guest is well known to thousands of writers interested in the craft and business of fiction; she is Therese Walsh and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, contemporary fiction, Desert Island Discs, drama, entertainment, literary fiction, literary novels, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, second novel, The Moon Sisters, The Undercover Soundtrack, Therese Walsh, undercover soundtrack, Women Writers, Women's fiction, Writer Unboxed, writers, writing, writing to music
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 romance mystery novelist Anne Allen @AnneAllen21
Thanks, Roz, for allowing me to air my thoughts on the music that influences me while I write. Your series has shown how varied the music is that writers listen to in their search for creativity. My own selection is quite limited in comparison but it did inspire me while writing my first novel.
I do love music but there are also times when it seems to get in the way; I find myself so drawn into the music, particularly vocal, that I literally lose the plot! Music helps to create the mood, spark the creativity but then must either be less noticeable or pertinent to what I’m writing at that time. My normal listening taste is quite eclectic; Michael Jackson, Adele, Nina Simone, Pavarotti, 1812 Overture, Chris Rea… And I love the more meditative New Age music which always formed a backdrop to my sessions when I practised as a hypnotherapist.
While writing my first novel Dangerous Waters I started off by playing New World Collection Relaxation II, a compilation of different artists playing hauntingly beautiful music which fed my soul while I stepped into the unknown as a writer. The first track, Wisdom by Philip Chapman, is played on a piano but with strings in the background and always calms me. My central character, Jeanne Le Page, is a young woman returning to her island home of Guernsey for the first time in 15 years, after fleeing to England as a girl of 16. She had lost her family in a tragic accident and now returns after the death of her grandmother, while also mourning the end of a long-term relationship. Tragedy and loss are the cornerstones to the story but as time goes on, hope of a fresh start and new love appear and the mood changes. My favourite track on this album, Soldier of Love by Denis Quinn, is in harmony with this change and provided the ideal background for the latter part of the writing process.
Jeanne experiences so many conflicting emotions through the story and music helped me to identify with them. I cried at times too, the words and music encouraging me to release my own grief as I wrote. I had lost two people I had loved and writing Dangerous Waters proved a catharsis. Another favourite of mine is the Pachelbel Canon which I found inspirational as I grappled with difficult chapters. Bearing in mind that this was the first time I’d written anything more substantial than a 500-word true-life story, I was in a constant state of insecurity; totally untutored. Entering the heads of other characters was also challenging, but I could empathise with some more than others. Molly, a character in the book, was based on a family friend. She was also a hypnotherapist who played a part in helping Jeanne to recover the memory lost after the accident and I played tracks such as Dream by Medwyn Goodall and Wings of the Morning by Terry Oldfield during the hypnosis sessions in the story to evoke the right ambience. At least there I was on known territory!
As Jeanne began to blossom and a new man- actually men! – appeared on the scene, I felt the need for different inspiration and listened to a Rod Stewart album. I know, I know! A bit off piste, perhaps, but it was fun and sexy and that’s what I, or rather Jeanne, needed. The album was If We Fall In Love Tonight. The title says it all, but there were particular tracks that, ahem, helped with certain scenes, such as Tonight’s the Night and Sometimes When We Touch. Rod’s gravelly voice provided, I have to say, both a distracting but complementary background to the writing.
We all respond to music in one way or another. Memories, both good and bad, are triggered by hearing even just a few bars of a tune that resonated with us at one time. Perhaps we take it for granted that it’s there, in the background of our lives, not always listening. But I’m convinced we would miss it if it was no longer there in our world and we have the composers, lyricists and artists to thank for offering us such a rich choice for our inspiration and comfort. Like books, music enriches our lives and I wouldn’t be without it.
Anne Allen lives by the sea in Devon, UK, having finally settled down; perhaps. She spent many years working as a psychotherapist but knew the ‘creative’ in her had to escape one day. In the past two years she has published two novels, Dangerous Waters and Finding Mother; her third book, Guernsey Retreat, is due out later in 2014. Her genre is romance/mystery and romance/family drama and Dangerous Waters won Silver in the Wishing Shelf Book Awards 2012. Her website is www.anneallen.co.uk and she can be found on Twitter as @AnneAllen21.
Adele, Anne Allen, authors, Chris Rea, contemporary fiction, Dangerous Waters, Denis Quinn, Desert Island Discs, drama, entertainment, family drama, Finding Mother, grief, Guernsey, Guernsey Retreat, hypnosis, hypnotherapy, Johann Pachelbel, loss, Medwyn Goodall, Michael Jackson, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, Nina Simone, Philip Chapman, playlist for writers, Rod Stewart, romance, romantic mystery, Roz Morris, Terry Oldfield, The Undercover Soundtrack, tragedy, undercover soundtrack, Wings of the Morning, Wishing Shelf Book Awards 2012, Women Writers, Women's fiction, writers, writing, writing from grief, writing from loss, writing to music
One of the special pleasures of hosting The Undercover Soundtrack is the honesty of the writing. My guests are ready to delve into their innermost creative spaces and share the bare, exacting process of turning memories, experiences and feelings into stories. My guest this week is one of those writers who drew on raw times to create the novel she shares with us. Music helped her examine two tragic losses, with their conflicting emotions and struggling hours. The soundtrack is haunting and melancholic, but is also rakish and fun – Rod Stewart makes a welcome appearance as life recovers and warms up again. The author is romantic mystery novelist Anne Allen and she’ll be here on Wednesday with her Undercover Soundtrack.
Anne Allen, authors, contemporary fiction, Desert Island Discs, drama, entertainment, grief, loss, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, Rod Stewart, romance, romantic mystery, Roz Morris, The Undercover Soundtrack, tragedy, undercover soundtrack, Women Writers, Women's fiction, writers, writing, writing from grief, writing from loss, writing to music
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 it’s my turn on the decks – with the Undercover Soundtrack for Lifeform Three
Lifeform Three is a fable in the tradition of Ray Bradbury, set in the near future, where global warming has shrunk the landmass and the countryside has been sacrificed for buildings and roads. One valley remains, of woods, trees and meadows, and is now kept as a theme park – The Lost Lands of Harkaway Hall. My main character, Paftoo, is a groundsman there. He’s the odd one out; the only soul who’s uneasy in a world that everyone else accepts. You could say he lives in a utopia – but to him it’s a dystopia.
I knew the emotional beats of Lifeform Three before I knew the story. They came to me as pieces of music, a chain of albums and tracks that suggested the landmarks of the novel. I would load them into my MP3 player and take them running, puzzling over them as I pounded out the miles.
Paftoo is a bod – an artificial human who’s programmed to do menial tasks. To keep him efficient, his memory is regularly wiped, but he has inklings of other memories. We meet him after such an event (known as a ‘sharing’). My first beat was that state of newness, a world shining and fresh where you go out and do your tasks, content with simple instructions. In the beginning, Paftoo doesn’t even know his own name until he realises the sole of his boot has a number – 2 (his name is an alphanumeric, short for Park Asset Field Redo Bod 2).
Boards of Canada’s album Music Has The Right To Children told me the innocence of new, eager eyes, especially this track, An Eagle In Your Mind.
The novelty doesn’t last long. There’s a wildness in Paftoo and by the end of his first day, he’s made the others wary of him. He’s also frustrated. But worse is to come when night falls. While his companions go dormant and lifeless, Paftoo starts to dream.
Again, the idea came as a feeling from music – Peter Gabriel’s soundtrack to The Last Temptation of Christ suggested a tingling in the nerves, a meaning that must be grasped.
First he hears sounds; urgent and deep, like a heartbeat in the ground
The dream sequence was choreographed to that album. It starts with a sense of unease, then that beat gallops in like the thing you knew was coming.
Horses, flashing across the green hills in glorious gallop. Necks reaching, tails streaming. Riders on their backs, urging them faster.
Paftoo opens his eyes, shocked. He knows he’s not supposed to dream. He also knows that nobody rides horses now. They’re untamed animals in the fields (and known as Lifeform Three). But at the same time it makes perfect sense in his restless soul. From that moment, Paftoo has a mission. Every night, he goes looking for clues that might explain why he has these dreams and what happened to him before his mind was wiped. By day, he struggles to hide his true nature in case he’s wiped again.
In a small way the story is autobiographical. In winter 1995 I acquired a horse, which had been an ambition since I was a kid. Like the horse Paftoo later befriends, my horse was enormous, black and alarmingly excited to be alive – especially with the frost nipping his clipped skin. I was laughably incompetent on his back, especially when trying to stop him. While sceptical (and wise) folk waited for me to give up and sell him, I was determined to persevere. If I couldn’t handle my dream, what did that make me? That first winter, Enya’s Anywhere Is was in the charts. I wasn’t a fan of her music, but when I came to write Paftoo’s attempts to tame a horse I listened to Enya to capture that time. For some reason Caribbean Blue with its waltz rhythm brought back the sense of a wondrous adventure, the tentative courtship of a wild creature and the sense of being alone on a dumb-headed quest for something inexplicable and ideal.
A song called Caribbean Blue that takes me back to an English winter, riding horses? Like dreams, Undercover Soundtracks have a logic of their own. Or I take no notice of lyrics.
During the writing, my soundtracks had to become a time machine. Those first days with my oversized horse were, as you can probably see, long ago. Reader, I kept him, and he was now reaping the arthritic rewards of a vigorous life. I was having ghastly conversations with the vet because if her treatments didn’t work it was time for the gun. I clung to those music tracks to help me give his glory days to Paftoo while the real situation seemed so hopeless. Thankfully, he rallied and we gallop on (on a good day).
The horse awakens Paftoo’s sense of the natural world, which humanity seems to have lost. Again, music already contained what I needed to say. Vangelis’s Pulsar was the thrill of galloping feet
‘gathering up the miles and throwing them out behind’.
Electromantic La Baletta No 2 – by the Hungarian composer Gabor Presser had feisty, fertile joy, like a primitive spring ritual. It smells of untamed hair and corduroy. And whoever said electronic music lacked a soul? Both these tracks are entirely electronic, made from circuits and wave generators, yet they bound and leap like wild animals.
But there’s a lot more to Paftoo’s quest than riding and nature. They are merely the beginning; the gateway to a profound discovery of his own past and the people and creatures he loves. Now I’m trying to avoid spoilers, but I can say that the more he recovers, the more he stands to lose and the more desperate his day life becomes. This impossibility was exquisitely insisted in Ralph Vaughan Williams’s The Lark Ascending.
The piece was written in 1914 and 1920, in an England changed forever by the first World War. That period would also be the heyday of Harkaway Hall, the mansion that used to stand at the heart of the Lost Lands, where Paftoo now struggles to keep his memories. The Lark Ascending seems to say that what will be lost is more than just the loves of a few souls in a little story; it speaks for the loss of time, grace, of fallen walls in overgrown woods, bumps under the turf in an empty field. That violin seems to be shrilling from the skies: it won’t last. We won’t last. And how can Paftoo save it?
Roz Morris is, of course, your host on The Undercover Soundtrack. Find out more here, connect on Twitter as @Roz_Morris and on the writing advice blog Nail Your Novel. Her first novel was My Memories of a Future Life (Soundtrack here) and Lifeform Three is now available in all formats, including print.
authors, Boards of Canada, contemporary fiction, Desert Island Discs, Downton Abbey, drama, electronic composers, electronic music, electronica, English mansions, entertainment, Enya, fantasy, Gabor Presser, horses, Life Form Three, Lifeform, Lifeform 3, Lifeform Three, literary fiction, literary novels, literature, Margaret Atwood, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, Peter Gabriel, playlist for writers, Ralph Vaughan Williams, Ray Bradbury, reincarnation, robots, Roz Morris, Roz Morris fiction, science fiction, soundtrack, speculative fiction, synth music, synthesisers, The Lost Lands of Harkaway Hall, The Undercover Soundtrack, undercover soundtrack, Vangelis, vanished houses, vanished mansions, vanished mansions in England, wild horses, Women Writers, women writing women, Women's fiction, writers, writing, writing to music
My new novel isn’t set in the world of music and none of the characters are musicians. It’s a quirky take on the future dystopia/utopia, with a smattering of Arcadia too – misty woods, abandoned towns, a forbidden life by night; the scent of bygone days; and an enigmatic door in a dream. Behind the scenes, though, music did all the early work for me. The first, rough outline came to me from favourite tracks by Boards of Canada, Peter Gabriel, Vangelis, Enya, Ralph Vaughan Williams and the Hungarian electronica composer Gabor Presser. As I built the story I listened to them repeatedly, and now each of them represents a landmark on my main character’s journey. Join me here on Wednesday, when I’ll explain the Undercover Soundtrack for Lifeform Three.
Arcadia, authors, Boards of Canada, contemporary fiction, Desert Island Discs, drama, entertainment, fantasy, Gabor Presser, horses, Lifeform Three, literary fiction, literary novels, literature, Lost Lands of Harkaway Hall, misty woods, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, nature, Peter Gabriel, playlist for writers, Ralph Vaughan Williams, Roz Morris, Roz Morris fiction, sci-fi, science fiction, scifi, slipstream fiction, smattering, speculative fiction, The Undercover Soundtrack, undercover soundtrack, vanished houses, wild horses, wild places, wildlife, Women Writers, Women's fiction, writers, writing, writing to music
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 contemporary women’s fiction novelist Joanne Phillips @joannegphillips
Soundtrack by Morrissey
I’m one of those writers who needs absolute peace and quiet to concentrate. Birdsong is fine; distant lawnmowers are okay; total silence is better. Anything I can ignore won’t interrupt my peace, but I can’t ignore music so I never listen while working. Music has always affected me deeply; I discovered Radio 4 during a difficult period in my life when the most innocuous song could trigger an attack of the blues.
Because I haven’t studied music I lack the vocabulary to explain precisely what it is that reaches inside and yanks out strings of emotion. I know there’s an amorphous sense of longing, of trying to work something out, and it’s this feeling, produced only by a beautiful tune or resonating lyric, that I aim to recreate in the reader when I’m writing. Great music and good fiction should transport you in some way, and no artist is better at evoking this response in me than Morrissey.
Conflicted and empowered
Morrissey’s lyrics have often inspired ideas for characters’ inner conflicts and turmoil. In The Future When All’s Well – a beautiful, upbeat song full of hope – is behind Stella’s blind faith in The Family Trap. As I listen to this track I feel empowered to take risks, to be my own person, and I gave this motivation to Stella, who is often quite infuriating but to me she carries this sense of hope and positivity with her always. There is a ‘definiteness’ to Morrissey’s music, a challenge, an invitation to take it any way you choose. Stella’s character embodies this – I prefer to write characters who are challenging, perhaps not immediately likeable but all the more real for it. And on a more general note, if I’m ever flagging or feeling low, listening to this track will always give me a lift. (Who says Morrissey is depressing?)
Last year, while I was writing The Family Trap, we were lucky enough to see him live in Manchester. There is so much passion in his music, and in the response from his fans, as you can hear during this clip (Every Day Is Like Sunday). And listen to those first two lines. It’s a beautiful, evocative image that prompts the questions: Who stole them? What happened next? The use of the word trudging is perfect. When I’m trying to pin down a piece of narrative, to reduce it to its core, I reflect on the use of song lyrics to set up a scene or emotion so economically. It really helps.
Not only do I listen to Morrissey for inspiration and ideas, I often use his music to reconnect to my own passion for writing, to be reminded that it’s fine to do things the way I want to, that I don’t have to follow strict conventions just because I write in a particular genre. Morrissey is the master of emotional manipulation and one of his key techniques is to contrast lyrical content with musical style: heart-rending, near-suicidal lyrics set to an upbeat, jaunty tune (I’m Throwing My Arms Around Paris). While both my novels are contemporary women’s fiction, they are not light and fluffy by any means. Both explore fairly dark themes for the genre – losing everything you own, materialism, the effect of having a parent in prison, the possibility of paternal abandonment – and I think these themes are all the more powerful for being set in a more humorous context.
Of course, I do listen to artists other than Morrissey! But he has provided the soundtrack to my life, and influenced my emotional responses to music and writing in ways that even I don’t understand. If I can evoke just an echo of that in my readers I’ve more than done my job.
Joanne Phillips is the author of contemporary women’s fiction novels Can’t Live Without and The Family Trap, both available in ebook and paperback from Amazon. She is studying for a masters in creative writing at Manchester Metropolitan University and works part time as an indexer. Joanne blogs about writing and publishing and you can follow her on Twitter @joannegphillips and Facebook
a parent in prison, absolute peace, authors, blind faith, Can’t Live Without, contemporary fiction, definiteness, Desert Island Discs, drama, entertainment, inner conflicts, Joanne Phillips, materialism, Morrissey, music for writers, music for writing, My Memories of a Future Life, mysterious place, Nail Your Novel, paternal abandonment, playlist for writers, Roz Morris, The Family Trap, The Undercover Soundtrack, undercover soundtrack, upbeat song, Women Writers, Women's fiction, writers, writing, writing to music
It’s Morrissey all the way for my guest this week. The contrast of dark lyrics and lifting melody became the sense of threat that runs through her novel. The force of his ‘take-me-or-leave-me’ personality becomes a main character’s demeanour. Even better, it states a principle for her own writing. (If I may bring in a touch of Frank Sinatra via Fleetwood Mac, writers do it our own way.) She is contemporary women’s fiction novelist Joanne Phillips and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, contemporary fiction, contemporary women, Desert Island Discs, drama, entertainment, Joanne Phillips, literary fiction, literary novels, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, novelist, playlist for writers, Roz Morris, The Undercover Soundtrack, undercover soundtrack, Women Writers, Women's fiction, 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
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- All content copyright Roz Morris 2011-2021. 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
Find something unforgettable
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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'