Posts Tagged writing
My guest this week says she usually finds music a distraction. She lives with music makers, and finds ‘other people’s sounds’ are too intrusive. But that changed when she started writing a crime novel about a teenage friendship in the 1980s/1990s. Listening to the music of the time helped her re-understand what life was like at that age. Gradually, it helped her tune into the characters and became a place she chose to be rather than an irritant to tune out. From listening to music about her characters she finally discovered, as she puts it, ‘music for me’. She is the award-winning poet, novelist and novella-ist Heidi James and she’ll be here tomorrow with her Undercover Soundtrack.
My guest this week is a true hybrid of the two Undercover Soundtrack disciplines – music and writing. He’s primarily a musician with the indie rock band Broken Poets, but he traces his songwriting to a profound childhood loss – the death of his best friend at age 13. He decided he had to write about this in prose as well as music, and the result is a multimedia work which he calls a ‘music novel’. He is Tim McDonald and he’ll be here on Wednesday with his Undercover Soundtrack.
My guest this week has written a novel with a dual timeline and an intriguing title that has more than a hint of fairytale – The Boy Who Drew The Future. She flitted past me on Twitter one day with her intriguing title and I set off in pursuit, waving an example of The Undercover Soundtrack and hoping she’d find it appealing. Thankfully she did, and her piece describes the music that drew her into the hearts of her characters. One particularly memorable line is the phrase she used to describe Samuel Barber’s Adagio for Strings – a private and fragile piece, a place for learning secrets. The Boy Who Drew The Future is her fifth novel and she’s held a string of distinguished writing posts including a WoMentoring mentor, a Patron of Reading and National Trust Writer In Residence. She is Rhian Ivory and she’ll be here on Wednesday with her Undercover Soundtrack.
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 writer and translator Alison Layland @AlisonLayland
Soundtrack by Steven R Smith, Aiko Shimada, PJ Harvey, Colin Stetson, Laurie Anderson, Godspeed You! Black Emperor, Dark Patrick, Darko Rundek, Smoke Fairies, Beth Orton
Music is an essential part of my writing process. I pick up on atmospheres, and fragments of lyrics that suggest an idea, character or situation (not always in the way the artist intended!), and build up a playlist for almost everything I write. I rarely listen to music when actually writing, but my playlist influences my work, and a copy to play in the car or while working keeps me in the zone.
A great inspiration, and music I definitely can and do play while writing, comes from Steven R. Smith. His music, mainly instrumental, captures my imagination, and the range of atmospheres he creates match so many of my moods. He records under various names/personas, and when working on Someone Else’s Conflict I found his Hala Strana records particularly appropriate as the Eastern and Central European influences helped me to tap into the Croatian backstory to the novel. I was also delighted when he agreed to let me use an extract from one of the Hala Strana tunes, Wedding of the Blind, for my book trailer.
Stories from a dark place
In Someone Else’s Conflict, Jay is an itinerant storyteller and busker, leading a self-imposed nomadic lifestyle and using his stories as a way of escaping from his memories and past. Stories by Aiko Shimada is that world of escapism through stories. What Jay is concealing is involvement in the Croatian conflict of the early 1990s, and the guilt that still haunts him. Scenes from the war are shown in flashbacks and, as I’m fortunate not to have experienced any kind of war zone first-hand, I used music as the vehicle to take myself there. PJ Harvey’s album Let England Shake told me it was possible and throughout the time I was writing the novel I had the first line of The Words That Maketh Murder going round in my head, as similar thoughts must have plagued Jay.
Saxophonist Colin Stetson’s amazing album New History Warfare Vol. 2 immersed me in all kinds of dark places and provided the perfect atmosphere both for the war scenes and the effects they had on the characters, in particular The Stars in his Head with its menacing driving pulse and swirling loops, and the chaos and displacement of A Dream of Water with guest vocals from Laurie Anderson. My fictional war zone was further intensified by the beauty and terror of Godspeed You! Black Emperor’s Mladic.
The haunting Ivases Lament by Dark Patrick not only suggested to me the feel of loss, tragedy and anger, but also had personal associations with my characters though a loose connection with its title – Ivan was Jay’s friend who was killed in the Croatian war and his son, Vinko, now a teenager and immigrant searching for identity, is central to the novel. The song brought out all the edginess of their relationship.
As I’m a linguist, it was more or less inevitable that, during my research into the Balkan conflicts, I would be moved to learn the language, especially as a personal way of gaining an insight into the feel and culture of the region. Music also features in my language-learning process, and I made some wonderful discoveries from that part of the world. My favourite so far has been Darko Rundek, in the context of writing the novel especially since a number of his songs deal with the conflict and its aftermath. When I first heard Ista Slika (The Same Picture) – before I saw the video, worked out the lyrics and fully appreciated the tragedy of what the song is about – I simply thought it was a lovely song. When I looked into it more deeply and discovered that it was about the war and that the refrain, roughly translated, means ‘whatever your way in the world in your crazy head you see the same picture’ it became a kind of theme tune for the novel. My own reaction epitomised the way Jay hides his own dark side from the world.
The novel is certainly not all darkness, and my playlist helped me keep me grounded in this, too. An essential thread is the developing friendship and love between Jay and Marilyn, the artist he meets who helps him come to terms with his past and has to decide whether to stand by him as things start to go wrong. Several songs from the Smoke Fairies’ Low Light and Trees album became part of their relationship in my mind, especially Summer Fades with its strong feel of the other person’s past. For a long time, Marilyn is understandably not sure of Jay; she is finding her feet after a difficult previous relationship and is unsure how much to trust him, despite his charismatic and outwardly friendly nature. In one of those serendipitous moments of musical discovery, I was initially drawn to Beth Orton’s Magpie because it reflects the imagery of one of Jay’s stories, and soon found it gave me a real feel for Marilyn’s inner strength.
The ending of the novel evolved as I approached it, but I always knew it would have a positive feel – though just how positive, I wasn’t sure. And so we return to the music of Steven R. Smith. The title and soaring atmosphere of To Rise and Move On says it all.
Alison Layland is a writer and translator, originally from Bradford and now living in the beautiful Welsh mountains with her family. Her debut novel, Someone Else’s Conflict, originally inspired by her passion for storytelling, tells of trust, love and the need to belong, moving from the peaceful Yorkshire Dales to the horrors of the Croatian conflict of the 1990s and its aftermath. It is published by Honno and was a Lovereading.co.uk Debut of the Month in January 2015. Alison can be found at her website. She tweets as @AlisonLayland and is a member of The Prime Writers @ThePrimeWriters
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by romantic comedy and romantic suspense writer Louise Marley @LouiseMarley
Soundtrack by Robbie Williams, Alesha Dixon, Pulp, Little Boots, Eliza Doolittle, Damian Marley
I’ve always been good at blocking out any distracting noise, whether I’m writing or reading. The distraction of silence is another matter, particularly if I’ve become stuck writing a scene, but I’ve learned to work around this by playing music.
It took me a while to realise the music I chose influenced my writing. I was listening to whatever was in the charts, but the music didn’t always fit the scene I was trying to create and would sometimes take me right out of it. So I got into the habit of creating playlists.
Nemesis, my most recent novel, starts with a flashback to 1998. Natalie is 15 and furious because her parents have forbidden her to go to the carnival. So she’s watching from her bedroom window, hoping to see enough to pretend she was there. Instead she spots her sister, Sarah, sneaking out to meet a man waiting in the shadows. It’s the last time Natalie will see Sarah alive. A quick way for me to take the reader back to 1998 was to reference Robbie William’s Let Me Entertain You, but the song is also about rebellion and infidelity, and these became Sarah’s motivations for running away.
Music also helps me develop my characters by providing them their own ‘theme tune’. Natalie’s became Knockdown by Alesha Dixon. This song, as the title suggests, is about a girl realising that no matter how many times you get knocked down, you have to pick yourself up and carry on. Natalie’s mother neglects her, her father is a violent bully and her sister was murdered. Despite all this Natalie works hard, educates herself and now has a successful career as a thriller writer. She feels it’s the perfect time to finally find out who killed her sister – by using herself as bait.
Understandably Natalie’s boyfriend, Simon, thinks she’s insane to put herself in such a dangerous situation. His character was inspired by Common People by Pulp (the song is also playing when they first meet, back in 1998). The track is really about a rich girl who wants to play at being poor but I twisted the meaning to create Simon, who is one of those people who is never happy with his own life. He hates being one of the ‘common people’. He wants to be rich and successful, and he blames everyone else for the fact he isn’t. Simon is jealous of Natalie’s friend because she lives in a castle, he hates another character because he got the job he wanted, and he’s even bitter about Natalie having the more successful career:
Look at everything you’ve achieved, all those books you’ve sold, the millions you’ve made. But while you’re living up here in your ivory tower, do you ever consider the rest of us? Do you ever think about what it must be like to be me, stuck at that bloody school forever and never progressing, all because of my relationship with you?’
As well as ‘theme tunes’, music helps me work out the characters’ relationships to each other. Remedy by Little Boots, with its line about dancing with the enemy, inspired the relationship between Natalie and Bryn – the man the police suspect of killing Sarah. Bryn’s cousin disappeared the same time Sarah died and he’s convinced the two incidents are connected. Natalie can’t make up her mind as to whether she thinks he’s guilty or innocent.
Despite the police warning her off, Natalie agrees to work with Bryn but, as they follow up one false lead after another, the body of another young woman is found in identical circumstances to Sarah. Natalie is devastated.
She was so small, so slight – so young. I was the one who started this. It should have been me.’
Natalie has spent years trying to bring her sister’s murderer to justice. She’s so used to bouncing back from all those knockdowns she hardly notices them anymore, but this is one knockdown there’s no getting up from. Go Home by Eliza Doolittle, about a girl who is in denial about being in trouble, helped me get into Natalie’s head at this point, revealing why she feels she has to finally give up on this obsession.
Natalie might have given up on her sister’s murderer but unfortunately he hasn’t given up on her.
There was no one there; of course there wasn’t. The front door had remained locked and the chain was even in place. She was spooking herself.
Then the music started.’
I don’t mention the track by name but inside my head it was All Night by Damian Marley, about a man exasperated by his girlfriend. I had the idea that anyone would feel freaked out by music echoing throughout an empty apartment in the middle of the night, wouldn’t they?
Unless they were a writer, in which case it might just kick-start their imagination.
Louise Marley writes romantic comedy and romantic suspense, and sometimes she mixes the two. She lives in Wales, surrounded by fields of sheep, and has a beautiful view of Snowdon from her window. Her first published novel was Smoke Gets in Your Eyes, which was a finalist in Poolbeg’s ‘Write a Bestseller’ competition. She has also written articles for the Irish press and short stories for UK women’s magazines such as Take a Break and My Weekly. Nemesis is available here. Her website is here, her blog is here. She tweets as @LouiseMarley.
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by contemporary fiction author Guy Mankowski @Gmankow
Soundtrack by Savages, Manic Street Preachers, David Bowie, New Order, Magazine, Ultravox, Yourcodenameis: milo, Joy Division, Marilyn Manson, El Perro Del Mar
I think music has influenced me in a way that is perhaps unusual. One of my favourite bands, Savages, describes their music as a ‘suit of armour’. I use music to motivate me, empower me, and rouse me into a state of anger that I convert into writing. My favourite album, The Holy Bible by the Manic Street Preachers, contains a set of lyrics which are all about corruption and negativity, and about converting that anger into self-empowerment. During periods of difficulty in my life I’ve returned to that album again and again. The lyrics to my favourite song from it, Faster, capture many of the mantras I live by.
I first wanted to write How I Left The National Grid to capture, in writing, that feeling that music gave me. The mind-set of Savages and The Manics influenced my main character, the singer Robert Wardner, who uses his music to escape the bleakness of his surroundings. But the novel itself was written using various other non-lullabies.
The novel is comprised of two narratives- one, set in the 80s, following Robert Wardner’s rise and fall. The other, set in 2012, as a journalist called Sam tries to track Wardner down for a commissioned book. Whilst spending time in Manchester to research the post-punk scene I was struck by how many times the city has been bulldozed and regenerated in the last few decades. To me, the fragile, futuristic synths in New Order’s music worked as a metaphor for the fragile, futuristic living complexes that have sprouted in recent years. I felt the texture of New Order’s brittle guitars and undulating keyboard lines during the long, searching city walks I took. They inspired Sam’s more hopeful moments in his journey. I think that New Order used synths to evoke a future that then seemed impossibly utopian, given their grim surroundings in urban Manchester.
In the novel Wardner fronts a band called The National Grid, who similarly try to create aural utopias on record, using whatever instruments they can lay their hands on. Magazine’s album Definitive Gaze and Ultravox’s Astradyne seemed to me the two records that had gone closest to achieving that. Neither are pristine, but their flaws make them all the most charming.
At the start of the novel Sam, and his girlfriend Elsa, are genuinely in thrall of futuristic visions about communal living, having just moved into a luxury apartment block. During the writing of these scenes I played I’m Leaving by Yourcodenameis: Milo again and again. The hard surfaces and polished textures of the song, along with singer Paul Mullen’s lyrics about living in a complex, were very evocative.
David Bowie has been quoted as the godfather of post-punk, and so perhaps fittingly his album Low was incredibly important in the creation of the book. Not least because in one scene, like in the song Always Crashing In The Same Car we see a character driving menacingly around a hotel car park, faster and faster, until a crash seems unavoidable.
During his car journey to Manchester’s sink estates, in pursuit of Wardner, Sam listens to Joy Division’s Disorder, and he acknowledges the hard interiors of their song, as uncompromising as the unyielding, Brutalist surfaces around him. At other times he doesn’t skirt around cities, but is taken into the dark heart of them. In the scene in which his hunt takes him to a debauched London nightclub I had Marilyn Manson’s Great Big White World play in the background in the prose. The song has a synthetic, artificial, glossy feel to it, as if the arrangement is cased in Lucite. The song felt as Ballardian as the modern nightclub environment. I also used El Perro Del Mar’s Dark Night again and again as muzak during the writing of one scene in which a character experiences a comedown. The lulled vocals and the incessant repetition of that song are somehow addictive, and capture the atmosphere perfectly. This novel could not have been written without the push that such songs gave me.
Guy Mankowski was raised on the Isle of Wight. He was singer in Alba Nova, a band who were described by Gigwise as ‘mythical and evocative’. He trained as a psychologist at the Royal Hospital for Neurodisability in London. The first draft of his debut novel, The Intimates, was written when he was 21 and was chosen as a ‘must-read’ title by New Writing North’s Read Regional campaign. His second novel, Letters from Yelena, was researched in the world of Russian ballet. He was one of the first English people to be given access to The Vaganova Academy, perhaps the most prestigious ballet school in the world. The novel was adapted for the stage and used in GCSE training material by Osiris Educational. How I Left The National Grid was written after a creative writing PhD at Northumbria University under the supervision of Booker nominee Dr Andrew Crumey, and is published by Zer0 Books. Guy’s website is here, his Facebook page is here and you can tweet him on @Gmankow.
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 Audrina Lane @AudrinaLane
Soundtrack by Berlin, Wham!, Rick Astley, Robin Beck, George Michael, Bill Medley, Jennifer Warnes, Patrick Swayze
As I started 2013 and my 40th birthday I started to think about what I still wanted to do with my life, call it a mid-life crisis bucket list. It was a time to look back into my past from an 80s adolescence to my life today and wonder if I had made the right choices. Music has always been my life blood from watching Top of the Pops in the 70s and wanting to be a dancer in Hot Gossip, right through to the fact that I always have music on in the office, house, car and headphones. Wherever I was working on my novel the music was there.
So on my bucket list I wanted to write a book, my first attempt at this was in 1992 after suffering my first break-up. It was called Take my Breath Away and straight away you can see that the song by Berlin was my starting point. The mood and lyrics of the song a haunting epitaph to lost love. Afraid of rejection of my teenage romance novel I shelved it.
Happily in February 2013 I found the manuscript and set to work to achieve my dream. The title of my novel is a song Where did your heart go? By Wham, its poignant lyrics and soulful vibe pointed me in the direction my story was going to take. With the local radio station on I decided to bring my idea from 1992 into the present and include music that I loved from the 80s. By setting my novel in 2013 my main character Stephanie Eden, widow, single mother and local radio station DJ is 40 years old. She grew up and experienced love for the first time in 1988. The song that made me remember my first love was First Time by Robin Beck. I listened to this track constantly as the lyrics evoke that breathless yearning when you are hit by love. I needed the music of the era to awaken my memories.
Stephanie’s daughter Charlotte is 16 in 2013 and just experiencing her own break-up. Stephanie remembers her diary from 1988 from when she was 16 and about to embark on her first relationship. Handing the diary to Charlotte she lets her read about how first love was in 1988 compared to 2013. My favourite scene is Stephanie’s first kiss with Lifeguard James, unexpected and beneath the water in the local swimming pool where they met.
I felt his lips on mine, soft and firm against the liquid coolness of the water. We were suspended in a timeless moment’
Stephanie yearns to be a DJ so for every romantic event in her relationship a song comes to mind and for this kiss it was Whenever you need somebody by Rick Astley. Upbeat and hopeful like my character feelings.
You feel for Stephanie when she realises that James is moving away. I needed a song to express the yearning and desperation she feels and I listened to A different corner by George Michael, the lyrics and piano on the track highlighting her yearning and the decision she made that led her to James in the first place. Stephanie has never moved on from her first love, despite her short marriage and the birth of her daughter. James has kept appearing in her memories every time she hears a song from the past. How many of us have experienced the same thing when you hear a certain song?
Music was such a powerful memory tool and one that I could never silence no matter the pain it bought.’
Charlotte loves music, influenced by her mum’s career and also her own dreams of becoming a dancer. I hope you are all seeing the parallel’s in my own ambitions?? At a dance competition Charlotte meets Mitchell and with a shared love of the film Dirty Dancing they re-create the iconic dance to the song I’ve had the time of my life, it becomes the first song of their relationship.
She could almost hear the music in her head, just louder than the beating of her heart as they moved together in perfect synchronicity.’
The book follows both characters through their sexual awakening and each of these scenes was easier to write with a song playing for the characters. For Stephanie and James I found it in the beautiful lyrics of George Michael’s Father Figure, for Charlotte and Mitchell with She’s like the wind by Patrick Swayze. As Stephanie watches her daughter falling in love she wonders if she should give love one more try?
In a way the soundtrack of my teenage years became those of the characters I was bringing to life and recreated that magical feeling of first love.
Audrina Lane lives in Herefordshire with her partner and two dogs. She works full time for the Herefordshire Library service which means she is surrounded by books every day. Where Did Your Heart Go? was released in July 2013 and her second book, Un-Break my Heart, was released in December 2014. She is currently working on the third. Find her on Facebook, Twitter @AudrinaLane and her website.
My guest this week brings a real blast of the 1980s, with a bright red emphasis on romance (I guess it’s that time of year). She drew on the soundtrack of her adolescent years to create the love-torn characters in her novel, and the heart of the story beats to George Michael, Berlin and Patrick Swayze. She is Audrina Lane and she’ll be here on Wednesday with her Undercover Soundtrack.