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The Undercover Soundtrack is a weekly series by writers who use music as part of their creative process – special pieces that have revealed a character to them, or populated a mysterious place, or enlarged a pivotal moment. This week’s post is by contemporary fiction author, poet, editor and singer-songwriter Jessica Bell @MsBessieBell,
I can’t cope with music playing in the background when I write. It’s distracting. Why? Because I am also a musician, and every time I hear music, it’s hard to fight the urge to sing, or pick up the guitar. That said, it would also be very rare for any piece of writing of mine to not include music in some way. Writing is my ability to breathe, and music is my oxygen. Neither one can exist without the other.
When I had the idea to write The Book, I knew immediately that music would have a place in the story. Though it’s not a feature, it’s important to my main character’s arc. About 60% of The Book, set in the early 1980s, is written from the perspective of a five-year-old girl named Bonnie. I hint, through the journal entries of her mother, Penny, and the transcripts of Bonnie and Dr Wright, her therapist, that due to her premature birth, she has trouble learning, and significant behavioural problems and eccentricities. However, I try to juxtapose this through Bonnie’s matter-of-fact point of view. The reader is then able to see how differently she perceives the world compared to the adults in her life.
This is where my soundtrack comes in.
When I was a kid, I remember getting song lyrics wrong all the time. The worst misunderstanding I can remember is from REM’s Losing My Religion where the first line of the chorus became ‘let’s pee in the corner’. This gave me the idea to show the reader some quirks in Bonnie’s personality through the way in which she misunderstood lyrics. However, in the end, this is not what I focused on. Because I wanted to emphasise Bonnie’s overly logical perception of the world, I made her comprehend the lyrics perfectly, and comment on how they didn’t make sense.
Bonnie doesn’t grasp the fact that lyrics can be metaphorical and/or symbolic, she only hears what the lyrics mean literally. Through this, I was able to show that despite the adults around her being conditioned to believe she had a learning disability, she is actually quite skilled at vertical thinking, and might very well have the qualities of a genius hiding behind her over-emotional demeanor.
For example, I used Talking Heads’ lyrics from Burning Down the House to illustrate this. Bonnie confidently explains that you can’t put fire out with fire, and that fire isn’t wet, so why would you need a raincoat? After her mother tries to explain that the lyrics are like art and don’t have to make sense, she shrugs and decides to accept the fact that despite the song not ‘making logic’, at least it is great to dance to. This not only shows that she can make sense of language, but also shows that despite not agreeing with something, she is willing to overlook it, and embrace its value. A pretty strong trait to have as a five-year-old, yes? It’s also something that young, stressed, ill-informed parents of the 80s would boil down to her being just a quirky five-year-old girl, and not notice how smart she is.
Bonnie also questions the deeper meaning of lyrics. After hearing Eurythmics’ Sweet Dreams, she says:
I rooly rooly like that man that sings the sweet dreams are made of weeds song. I askted Mummy if all bodies are looking for sumfing, and she said they are. And I askted what she was looking for, and she said that she was looking for love, but she already founded it, so she’s not looking anymore. I askted her to show it to me. But she said that love isn’t tangible. I don’t know what tangible means, but I would still like her to show me the love she found.
The excerpt above also draws attention to Bonnie’s misunderstood wisdom by showing how capable she is of rational thought. Annie Lennox must be a man because she has short hair and wears a suit and tie in the video just like Bonnie’s father does; and the fact that logically, if you find something, you should be able to hold that something in your hand.
Trying to understand music through the eyes of a child was an amazing and eye-opening experience. It really made me realize how much of what we ‘know’ is almost like a stamp. We learn something, and assume it is correct, because that’s what we’re conditioned to believe. But Bonnie questions a lot of basic things in life that we take for granted, and it made me realise how much adults can learn from children. Children tell the truth. Children’s opinions aren’t blurred by a lifetime of experience. Their opinions are pure and simple. And sometimes pure and simple is a smarter way to live than the tainted and complicated lives us adults lead. Don’t you think?
The music that influenced The Book wasn’t just a trigger for the muse.
It was a voice.
The voice of logic.
Jessica Bell is an Australian-native contemporary fiction author, poet and singer/songwriter. She also makes a living as an editor and writer for global ELT publishers (English Language Teaching), such as Pearson Education, HarperCollins, Macmillan Education, Education First and Cengage Learning. She is the co-publishing editor of Vine Leaves Literary Journal, and the director of the Homeric Writers’ Retreat & Workshop on the Greek island of Ithaca. The Book is available from Amazon US, Amazon UK and Kobo. For the book trailer see here. Connect with Jessica at her website, blog, on Facebook or Twitter @msBessieBell
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My guest this week is another Undercover Soundtrack veteran. In fact, she deserves this title twice over, as she was the first of my guests who also wrote some of the music that helped her create the book (and she then made it available as an album). This time, she uses music in a different, but equally creative way. Her main character is a child who has behavioural problems and eccentricities, and struggles to understand the adults’ world. The metaphorical language of song lyrics, jumbled through a child’s mind, became a cornerstone for her to understand the character. She is Jessica Bell and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, child character, contemporary fiction, Desert Island Discs, drama, entertainment, Jessica Bell, literary fiction, literary novels, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, song lyrics, The Book, The Undercover Soundtrack, undercover soundtrack, 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 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’s guest is debut novelist Claire King @ckingwriter
As an author whose days are pulled and split between parenting, work, chores and all the other usual distractions, when it’s time to write I find it really helpful to use sensory prompts to pull me quickly out of my own world and into the story. Visual prompts like photographs help, as do smells, tastes and definitely music.
The Night Rainbow, my debut novel, is set in southern France in the heat of August. It is narrated by five-year-old Pea, and plays out in a very limited environment – her house and the surrounding meadows and hills – but which of course seems much bigger to a child of that age. It also takes place over a surprisingly short span of time. But again, to a child a week can seem like forever. Because of this, I had a relatively small selection of music that I played when I was writing The Night Rainbow that would bring me back to the place, the time and the characters. I always listened to it on headphones, which emphasised the feeling of immersion.
Margot and Pea
The one album that I played over and over was Erik Satie’s Gnossiennes, by Alexandre Tharaud. Of these pieces, Gnossienne 1 for me really captured the feel of the novel. I found this piano music perfectly evocative of the environment I was trying to create – it’s very French, and it seems weighed down by heat and melancholy, yet the delicate notes of the piano evoke the lightness of childish movement. As Pea and Margot made their daily forays down through the peach orchard, over the fence and down past the donkeys to the stream, they were accompanied by this music.
Claude and Pea
Pea’s mother has been struck by tragedy twice in quick succession, having recently lost a baby and her husband. Burdened by grief and isolated from the village, she has retreated into herself. So, left to their own devices, Pea and her little sister run wild in the meadows. This is where they meet Claude, who Pea believes is at least a friend, and possibly a potential new papa. The relationship that develops between them is a cornerstone of the novel. On the one hand it’s an unusual relationship, which from an adult point of view can look rather sinister. But on the other hand, Claude is giving Pea what we, as readers, want to give her – company, food, shelter and kindness. The song that pulled me back to this relationship again and again is Cat Power’s cover of I Found a Reason.
There is something magical and ethereal about this simple song. I hooked onto the sense of being believed in, of hope and of being saved by someone. What struck me when I saw the cover for The Night Rainbow that Bloomsbury had designed was that they had somehow picked up on this image I had of Pea running, running, running. (See also the book trailer for another representation of this) and the piano music they chose (independently) to represent the book. A perfect synergy with my intention for the novel.
As Pea busies herself trying to take on the role of the adult in her family, her mother is sinking deeper and deeper into desperation. Heavily pregnant, apparently alienated somehow from her own parents and in danger of losing her farmhouse home now that her French husband is dead, Maman is struggling badly. I had to be so careful when writing this character because I wanted readers not to condemn her for being neglectful, but to sympathise with her plight. Her song was Amy Hit the Atmosphere by Counting Crows. I found her desperation in this song, but also a great evocation of that powerful need we have for our mothers, for someone to care for us.
Pea is reminded, towards the end of her story, of a moment between her mother and father dancing. The song they dance to is Je t’aimais, je t’aime et je t’aimerai by Francis Cabrel.
This song is in French, and I’ve not found a translation of the lyrics on the web that I’m completely happy with, but here’s one example.
This song was important to me because in amongst its many beautiful images, it captures the naivety of childhood, the messiness and the regrets of adulthood and amongst all that the essence of enduring, abiding love, that I wanted for my characters. Ultimately isn’t it what we all want for our children and for ourselves?
Claire King works and writes in southern France – where she lives in a shabby stone house in the middle of nowhere with her husband and their two young daughters. Her first novel – The Night Rainbow – is now out from Bloomsbury. Find her at her website and on Twitter @ckingwriter
GIVEAWAY Claire is excited to give away a print copy of The Night Rainbow to a commenter here. Bonus entries if you share on Facebook, Twitter, Google + and elsewhere (one entry per medium). Don’t forget to come here and tell me in the comments where you’ve shared it as I might not know!
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I’ve now got Eric Satie’s Gnossiennes rocking on repeat in my head – and so will you once you’ve read this week’s Undercover Soundtrack. Satie helped my guest conjure a lulling, heady summer in France; a five-year-old girl running wild while her mother grapples with tragedy, late pregnancy and looming disaster. The novel is The Night Rainbow, the author is Claire King, and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, Claire King, contemporary fiction, Desert Island Discs, drama, entertainment, France, home, kids, late pregnancy, literary fiction, looming disaster, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, night rainbow, playlist for writers, Roz Morris, The Night Rainbow, The Undercover Soundtrack, undercover soundtrack, Women Writers, Women's fiction, writers, writing to 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’s guest is award-winning bestselling author, indie champion and women’s advocate Melissa Foster @Melissa_Foster
Thank you, Roz, for sharing your virtual space with me today. I love what you are doing with this series, and I have a feeling that many of your followers will find my musical selections odd, lame, or just plain telling-of-my-age. Here goes…
I’m a music fanatic, but not in the normal sense of the term. I cannot write in silence. I need the beat of a good tune to be able to feel my stories, and the particular beat doesn’t matter. It’s not uncommon to find me with F.M. Hot 99.5 playing so loud that I cannot hear anyone speaking to me. It’s also not uncommon to find me listening to an iTunes mash-up of Michael Jackson, Kelly Clarkson, Darius Rucker, Glee (yes, I am almost 46 years old, and this is my guilty pleasure). Even Madonna and Katy Perry make an appearance. The difference between me and most music fanatics is that I rarely know who is singing the songs I listen to, and often, I can’t tell you the title.
When I was writing Chasing Amanda, my typical mash-up wasn’t quite working. I found my inspiration on my iPod, which my stepdaughter had filled with songs when she was about 15 years old, ranging from head-banging heavy metal to rap and top 40 hits. I gravitated toward three songs that pulled me through the manuscript — I was a runner at the time, and these songs were played over and over during my runs as I worked through the storyline of each character: How to Save A Life by The Fray, I Write Sins Not Tragedies, by Panic! At The Disco, and Buttons, by the Pussycat Dolls.
Each song helped me to see Molly Tanner, the main character, a little more clearly. She’s a bundle of strength and emotions wrapped up in sensitive skin. The lyrics embodied all of her. Buttons helped bring out the fun side of Molly, which is so easily lost in stressful situations. Buttons inspired the sexier side of Molly, it was a gentle reminder that she was feminine, though strong, helping me grasp her vulnerability when she was searching for the abductor, alone at night. Sins helped me to remember that she was on a very powerful hunt, where she could lose everything, and Life, well, it’s pretty clear. Molly valued her life, but because she had unknowingly witnessed an abduction, and then the little girl’s body was found, when Tracey went missing, she was willing to forgo her own life to save another.
I drew from the song How To Save A Life on many levels. That particular song carried over to many of the characters. It exposed the search for Tracey as something much deeper than simply a simple search mission. The song is made of passion and longing, which brought life to Hannah Slate’s forgotten past. Hannah Slate, Pastor Lett, and Newton Carr each had deep-rooted secrets that could have crushed them as individuals, but they drew strength from one another, just as the song talks about staying up all night, each of them had been there at all hours for each others. The love that blossomed from their friendship carried them forward through lives of deceit. I didn’t watch the video when I wrote the book, and I’m glad that I didn’t. I found different meaning in the words each time I listened.
A softer side
Molly’s husband, Cole, was a doctor, and a very serious one, who believed in tangible facts rather than Molly’s clairvoyance. Buttons helped me to find his softer, sexier side, and think of him as a man rather than just a husband and physician, and by doing so, allowed another layer of the story to form.
Music enhances my senses and tempts me to reach beyond characters’ looks and the way they move. Music draws me in to think about their emotional state in each scene, and as you can see from my musical choices, there is no rhyme or reason to the tunes that I choose. Music does so much more than just inspire me, it is woven into the fabric of my life, enabling me to see most things in life more clearly, and to remain in a place of light. If you visit me, you’ll find an intercom system that plays music in every room, all day long. Music, even when it has sad lyrics, makes me happy.
What does music do for you?
Award-winning, bestselling author Melissa Foster is a touchstone for the indie publishing community and a tireless advocate for women. Her novels are Megan’s Way, Chasing Amanda and Come Back to Me. She is the founder of the World Literary Café, Fostering Success, and The Women’s Nest. Melissa writes emotionally-driven contemporary fiction and suspense with passionate characters that remain with the reader long after they’ve read the last words. Melissa is a friend, mentor, brownie connoisseur, and book fiend. Connect with her on Facebook, Goodreads and Twitter @Melissa_Foster
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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’s guest is award-winning author Linda Gillard
Soundtrack by Philip Glass
When I ground to a halt writing my fifth novel, Untying the Knot, the second movement of Philip Glass’s first Violin Concerto showed me a way forward. I wanted to tell the story of a man suffering from post-traumatic stress disorder, an ex-soldier, ex-bomb squad, whose career had been ended by an explosion. I wanted to write about his marriage (which had ended in divorce) and about the loyal wife who’d stood by him through many years of active service, then years of rehabilitation and then walked away.
I had a story, but I didn’t know how to tell it. I knew the emotional trajectory of my characters, but I hadn’t a clue how to structure my novel. I’d called it Untying the Knot because it was a love story about a divorced couple, but the title was ironical. Divorced, my characters discover they’re bound together indissolubly, not only by continuing love for each other, but by their traumatic history.
The book was to be about both of them, not just the attention-grabbing hero, Magnus. I wanted to show his wife, Fay, quietly getting on with her life, quietly cracking up while no one noticed. But Magnus had taken over. My work-in-progress was about a hero, his sacrifice and terrible suffering. I couldn’t see how to bring his wife into the foreground and make her story – and her sacrifice – as poignant and moving as his. I was close to abandoning the novel as unbalanced and too complicated to work.
I always use music to support and enrich my writing and I usually have a playlist for each novel. I’d been looking for a piece of music to represent what’s known as ‘the long walk’ – the bomb technician’s lonely approach to an explosive device he’s about to disarm. I remembered the Glass Violin Concerto, with its descending ground bass pattern that repeats for the whole of the second movement. It sounded like someone walking, but it also had an edgy, disturbing quality, created by oscillating broken chords. This wasn’t just a slow walk, this was a walk towards something ominous, even dangerous.
In the music
As I ‘auditioned’ the Glass, it triggered an almost overwhelming cascade of ideas and I suddenly saw – almost completely – how I could structure my novel by emulating the structure of this eight-minute piece of music.
As I listened, I could hear two voices, male and female, engaged in a kind of dialogue. The male voice was the low, see-sawing strings and woodwind that create the walking ground bass. Over the top, I heard a female voice – a solo violin, calm and lyrical at first, a woman pleading with the man to give up his dangerous job, perhaps asking for his help. As the violin solo is repeated again and again against the implacable ground bass, her voice becomes desperate (anguished arpeggiated figures), yet the man never stops walking. It’s as if he can’t hear her and is walking away. Towards the end of the movement, the violin produces high, sustained notes. I found them heart-rending. The woman has finally lost it, given up and gone under.
The music showed me how I could weave my two narrative threads together. The long-suffering wife could move into the spotlight for a while, then retreat while her husband’s horrific back story took over. The couple could keep changing places until, at the dramatic climax of the novel, their two stories would collide and combine, allowing the reader to discover exactly why the marriage had foundered, why the wife had walked away. What had appeared to be his story would be revealed as her story.
As I listened, I felt Glass had written my novel for me, in miniature. I just needed to expand what he’d done, then translate it into a fictional form. There was an added musical bonus. The movement ends abruptly and is quite unresolved. I believe that unsettled feeling gave me the impetus and energy to get on with writing the book. Much as I admired the music that had inspired me, I thought, ‘In Untying The Knot, all this is going to be resolved.’ And it was.
Linda Gillard lives in the Scottish Highlands and has been an actress, journalist and teacher. She’s the author of six novels, including Star Gazing, shortlisted in 2009 for Romantic Novel of the Year and House of Silence, which became a Kindle bestseller, selected by Amazon as one of their Top 10 ‘Best of 2011’ in the indie author category. Her website is here and you can find her on Facebook.
GIVEAWAY Linda is excited to give away one copy of the ebook to a commenter here – so if you drop by, be sure to say hello!
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My guest this week says her novel would never have made it to publication if not for a piece of music. She’d been trying for a long time to weave two narratives together and was about to give up when by chance she listened to Philip Glass’s first violin concerto. In that piece she suddenly saw the rhythms of her characters and how they could harmonise. She is Linda Gillard, the novel is Untying The Knot and she’ll be here on Wednesday talking about its Undercover Soundtrack
arts, authors, contemporary fiction, entertainment, having ideas, Linda Gillard, literary fiction, music for writers, music to write by, My Memories of a Future Life, Roz Morris, The Undercover Soundtrack, undercover soundtrack, Untying the Knot, Women's fiction, writing to 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’s guest is historical novelist Erika Robuck @ErikaRobuck
I don’t know who once said that art begets art, but that has always been true for me in my creative process. There’s nothing like a particularly evocative painting or piece of music to inspire scenes, mood, or even character in my writing.
My latest novel, Hemingway’s Girl, is set in Key West in 1935, when a half-Cuban woman goes to work for Ernest Hemingway to support her widowed mother and sisters, and save money to start her own charter fishing boat business. Soon after she becomes Hemingway’s housekeeper, she finds herself torn between the writer and a WWI veteran and boxer working on the Overseas Highway.
Like the other novels I’ve written, music was integral to my creation of this work, particularly in the areas of temperature, time, and theme.
In Hemingway’s Girl, the characters and the time period are warm, passionate, and colorful. From the Spanish-speaking Cuban mother, to the dark bars and boxing matches in town, to boating under the blazing sun on the Gulf of Mexico, Hemingway’s Girl simmers with tropical heat.
Nothing captures that simmering intensity for me better than Spanish classical guitar music, specifically by Manuel Ponce and David Russell. Both composers’ blends of sultry guitar riffs, moody reflective measures, and sudden bursts of sound and scale matched my characters and their volatility.
One of my characters is an amputee from WWI, and he plays Ponce’s Suite in A Minor on his guitar to convey his emotions associated with his passionate love of life and pain over his loss, just as my protagonist’s widowed mother plays the song on her gramophone. I named the song in the text as a frame of reference for the reader with the hopes of sending my audience searching for the music that inspired me, and to convey the heat I felt while writing it.
Writing historical fiction while living in the present day, with three sons running around the house, is a special challenge. When I step into the writing zone, I put down a sippy cup and pick up a metaphorical long, pearly cigarette holder. I don’t actually smoke, but the act of turning from my life to the past happens more seamlessly in the context of prop and music.
While writing Hemingway’s Girl, one of the songs that grounded me in the thirties was All Through the Night by Cole Porter. It came on a Pandora mix one night while I was writing, and inspired a scene where my protagonist first danced with the boxer. The song is so intimate and filled with longing that I was able to get lost in a moment where two people began to understand the depth of their feelings for each other. The music opened up a new avenue for me in the story because, until hearing it, I couldn’t figure out how to transition their relationship from casual friendship to the beginnings of love. It was the music that made the scene.
Ernest Hemingway once said that he used words the way that Bach used notes. He said that he studied Cezanne until he could paint a landscape with words the way the artist could with his brush. Hemingway felt the connection between art forms and recognized their power. It is my hope that the music in the creation and product of my novel enhances the themes in the story.
Erika Robuck is a guest blogger at Writer Unboxed and has her own historical fiction blog called Muse. Her novel, Hemingway’s Girl, was published in September 2012 by NAL/Penguin, and will be followed by Call Me Zelda in 2013. Connect on her website, www.erikarobuck.com, Twitter @ErikaRobuck, or on Facebook.
GIVEAWAY Erika is giving away one signed copy of Hemingway’s Girl to a commenter here… so be sure to say hello!
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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 it’s my turn, and I’m talking about the music behind My Memories of a Future Life . And below you have a chance to win a very special version of the print edition….
Begin, like my narrator Carol, lying on a floor trying to think of nothing. Her brain’s like a searching radio, snatching music out of the smallest sound, or the footsteps of the yoga teacher walking around her.
That’s me too. If you’re talking to me and I detect music, no matter how quiet, my brain will align to it and you’ll become the background.
My brain is also a noisy beast. It crackles with images, connections and ideas, but far too fast for its poor operator to catch. Music freezes the hurricane and allows me to play with an idea, stop time and rewind so I can examine and explore. So it’s pretty much essential to my writing.
A life steeped in music
My Memories of a Future Life is a novel steeped in music. Its narrator, Carol, is a classical pianist. In the story there are a number of standard pieces that have special meaning for her (Ludwig Van’s Moonlight Sonata, Grieg’s piano concerto in A minor – which I marinated in so long that I developed absolute pitch). But to write Carol I needed to understand what it meant to devote your life to an instrument. An obvious place to start was Michael Nyman’s theme for The Piano, a windswept reel where a piano speaks for a person. But under Carol’s classical poise is a more raucous urge. Enter Bill Nelson’s Scala, an operatic aria gone feral. I listen to that cliff of sound and it tells me the joy of connection that Carol feels at her instrument:
Their faces weren’t critical. They were soft and open. Music, the language of souls. That was why we played. To do that to each other.
I’ve never worked out if Scala is, in fact, a joyous song. The lyrics might even be Bill Nelson’s shopping list. It does not matter. When I’m writing, music guides my gut, not my head.
Carol’s career is halted by a mysterious injury. She’s desperate to play again but medicine can’t give her any answers. So she seeks them from an unusual source – herself in a future incarnation. The story splits into two threads: Carol now, and her next life.
One of my earliest decisions was how the two narratives would work together. I found a guide in Joe Jackson’s Lullaby. It’s a slow snow-fall of a song with a flavour of Lucy In The Sky With Diamonds and a floating female vocal. It made me think of blue hallucinations and deepest winter. For a long time I planned the modern-day action to take place at the bitterest time of year, frozen like Carol’s life. But once the characters were setting their own agenda, the quality of winter became a person: Carol’s hypnotist Gene Winter, a complex, mesmeric man who has
a soul of solid steel. A surgeon’s soul.
The dreamy blue from Lullaby became an underwater city in the future. There, Carol’s future self, Andreq, is a healer struggling to cover up a secret. He needed his own voice and soul, distinct from her. His eerie composure came from the extraordinary composer-vocalist Meredith Monk in this track, Lost Wind. Even her track titles made me want to write – especially Travel Dream Song.
Of course, what Carol is going through is pretty odd. She’s experiencing her future self, and increasingly questioning the influence of Gene, who’s teasing it out of her. I was out driving one day, my favourite mode for daydreaming, and Seal’s Crazy swam out of the radio. Crazy is so famous you probably don’t have to click the link. Certainly I knew it well from its days in the charts. But once a song crosses into my undercover soundtrack, it’s like hearing it for the first time.
‘As the music swept everything away I imagined that I could talk to Gene about what we were doing, that we could slip off our inhibitions like these people here, that we could talk about what was me and what was him and what was neither’
What is Carol searching for? At one point she thinks she’s got it. Handel’s brooding, thrilling aria Ombra Cara, from Radamisto examined the moment perfectly, in the music at least. What the words are, I haven’t a clue.
Much of the novel’s action is at night, a 3am desert where normal rules are suspended. When I needed to loosen my bones I’d go running. I liked to go out after dark, listening to songs that were too invasive to write to but kept me in Carol’s mind. One was Massive Attack’s Unfinished Sympathy for its restlessness. Last summer, on final edits it was joined by Emeli Sande and Heaven – which to me sounds like Unfinished Sympathy cloned in helium.
Long before I knew what the end should be, I knew how it should feel. It came from George Michael and this fragment from his album Older. It has only one lyric. I had it on repeat while I ran in the dark, mile after mile, searching for the way there. Like Carol.
Special album sleeves are de rigeur in music, so I thought I’d try it in books. I’ve made a special version of My Memories of a Future Life with an adventurous variation on the cover. (And yes, it goes around the back too.)
The text inside is the same as the red edition, except this has an inscription about the cover and its own ISBN. It’s not for sale, it’s a one-off piece of authorly whimsy. I’m giving away two copies, which I’ll sign and number.
To enter, leave a comment here by 8am UK time on Sunday 16th September – although you can enter no matter where in the world you’re based. If you mention this post on Twitter, Facebook, your blog or any other corner of the known etherverse, that counts as another entry – but make sure to tell me here. Each comment or mention counts as an entry, within reason – in other words, don’t spam… (of course you won’t…)
WINNERS! Thanks for all your entries and your energetic tweeting, googling and hooting. The entries have been shuffled, stuffed in a fancy cardboard churn and scrumpled again. The two winners, plucked from the mass with due solemnity, are Aine and Debbie Steg. Congratulations – and email me at rozmorriswriter at gmail dot com
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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’s post is by award-winning novelist and incorrigible genre hopper @GGVandagriff GG Vandagriff
Right next to my love of writing is my love of music. In fact, as I look at my novels, I find that music is inescapably woven through them. I take my literary cues from the music I listen to.
Tchaikovsky’s Violin Concerto in D Major was the inspiration behind my women’s fiction: Pieces of Paris. My heroine, Annalisse, is stuck in the Missouri Ozarks with her quixotic husband who thinks he has found the Garden of Eden. However, she grew up on a farm and knows that a farm is just a farm. She is overcome by PTSD and finds herself immersed in flashbacks of another life her husband knows nothing about.
Before that life ended tragically (thus causing her to bury the memories deeply), she was a concert pianist (Rachmaninoff’s Second Piano Concerto and Chopin’s etudes figure here). More importantly, she was passionately in love with a brilliant violinist consumed by the Tchaikovsky.
In creating that character, I also became consumed – both with him and with that amazingly complex composition. I played it as I wrote, and Jules became one of my most memorable characters. The concerto is vastly yearning, longing for resolution. Jules’s character development traced the concerto’s. In the same way, as I wrote this book during my 25-year apprenticeship, I was yearning for the completion that only writing could give me. I was stretching, as the violinist stretches in this composition. It was plainly the soundtrack for my literary life.
In my most recent book, The Only Way to Paradise, a tale of four women who find hope and healing in Italy, two of my ‘crazy ladies’ are violinists. Arthritis has stricken Georgia, ending her career as a violin sensation. The Mendelssohn Violin Concerto was her signature piece, and she played it ‘like silk’. As I wrote of Georgia and her memories, I played the concerto as my soundtrack. When she thinks she wants to end her life, she hears through her window in Florence, the sound of the Dvorak violin concerto played by an anonymous virtuoso. The Slavic melody of the music echoes her mood, but saves her life. The violinist turns out to be one of her companions, whom she undertakes to mentor.
It is one of life’s great ironies that I understand music, but cannot play a note, nor even read it! However, I cannot live without it. Now, as I write a frothy romance, I am listening to a lot of Bach and Puccini Arias. Except for the duel scene—that is accompanied by Shostakovich’s uber-dramatic Fifth Symphony!
GG Vandagriff is the author of 12 books and an inveterate genre hopper. She has a series of five mysteries, two suspense novels, one award-winning historical epic, two novels of women’s fiction, and two non-fiction. She is also a journalist, writing for an on-line magazine and Deseret News. Educated at Stanford, she studied music at Stanford-in-Austria. Her latest book is another genre hop into romance, The Duke’s Undoing. Find her on Twitter, her website and her blog.
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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 2011-2022. 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'