Music tells us stories - Roz Morris
So we sit down, wake the laptop, place coffee beside
keyboard, flex knuckles, stare meaningfully at the ceiling, put on
headphones... and begin.
What's going into our ears? Something pure like
birdsong? Something contemplative and thoughtful for the earnest business of
noveling?
Not necessarily. It might just as easily be grinding guitars
and ripping vocals.
My blog series The Undercover Soundtrack has been going for
a year now, and more than 50 writers have so far shared the music that helped
them invent and hone their novels.
Soundtracks
Undercover Soundtracks are not the songs their characters like, or the music played at their weddings. They are writers' secret ingredients, meditative antechambers where they can study their characters’ true natures, conjure an atmosphere or examine the nature of an elusive moment.
Undercover Soundtracks are not the songs their characters like, or the music played at their weddings. They are writers' secret ingredients, meditative antechambers where they can study their characters’ true natures, conjure an atmosphere or examine the nature of an elusive moment.
Catherine Czerkawska |
Among the first contributors were members of this group. Dan Holloway searched for nostalgia and directionlessness.
Catherine Czerkawska puzzled over whether the book came first or the music.
AE founder Katherine Roberts dreamed up her novel to folk and Celtic music
and former member Nicola Morgan drenched herself in Coldplay until her
family yelled ‘Noooooooo’.
Dan Holloway: nostalgia |
Another early AE, Linda Gillard, scored a hit with readers when she explained
how a Philip Glass piece rescued her novel's structure. And if you're a fan of John A A Logan, watch out because he's coming soon with the sounds that serve his dark imagination. In fact, just watch out.
Some soundtracks are historically literal. Katherine Langrish chose the troubadour songs of the 12th century for her tale of lost love. Ellie Stevenson found possibly the last song ever played on RSS Titanic for her novel Ship of Haunts. Erika Robuck evoked 1930s Cuba with Cole Porter.
Some soundtracks are historically literal. Katherine Langrish chose the troubadour songs of the 12th century for her tale of lost love. Ellie Stevenson found possibly the last song ever played on RSS Titanic for her novel Ship of Haunts. Erika Robuck evoked 1930s Cuba with Cole Porter.
Indeed Cole Porter trots through quite a few Soundtracks regardless of period, as does the film composer Hans Zimmer. Other writers’ favourites are Seal and JS Bach . (There's
probably a joke in there.)
One or many?
Sometimes a writer's soundtrack is a few sacred pieces, even stretched across multiple novels. Sometimes one novel alone gets a soundtrack longer than a Broadway musical.
Undercover Soundtracks also mark how we draw on our real lives. Jessica Thompson used a track with desperately romantic associations to recreate a scene between lovers Catherine Ryan Howard made a musical time capsule to revisit long-ago adventures for her second travel memoir.
Sometimes a writer's soundtrack is a few sacred pieces, even stretched across multiple novels. Sometimes one novel alone gets a soundtrack longer than a Broadway musical.
Undercover Soundtracks also mark how we draw on our real lives. Jessica Thompson used a track with desperately romantic associations to recreate a scene between lovers Catherine Ryan Howard made a musical time capsule to revisit long-ago adventures for her second travel memoir.
Some writers find lyrics are
unbearably intrusive. Others happily ignore them and give themselves to the
emotion, as though the words weren’t there at all. Once a song enters a book's
landscape, it means whatever the writer wants. While I was writing My Memories of a Future Life, a
perfectly famous song ambushed me from the radio and it was as if I heard it
for the first time.
Ritual
For some writers, music is a ritual. Jennie Coughlin repeats The Boxer for hours, a rhythmic slave driver, drumming her to the finish. Catherynne M Valente has a special piece that begins every creative day.
For some writers, music is a ritual. Jennie Coughlin repeats The Boxer for hours, a rhythmic slave driver, drumming her to the finish. Catherynne M Valente has a special piece that begins every creative day.
Ask a non-writer to set up an author’s desk and the last thing they would
probably furnish it with was music. But so many of us are completely fuelled by
sound, writing in a state of semi-possession. Maybe, as one commenter said,
it's because music can punch so much experience at us without a single word, goading
us to bend our own artform a little better. Many contributors cheerfully - or
ruefully - admit they can't read a note yet they find that music makes fundamental sense.
Whatever theory you favour, these pieces seem to turn
a novel inside out. We come away - or I do - having glimpsed the soul of a book
- and of a writer too.
Does music tell you stories?
Roz Morris is a bestselling
ghostwriter and book doctor. She blogs at Nail Your Novel
and has a double life on Twitter; for writing advice follow her as @dirtywhitecandy,
for more normal chit-chat try her on @ByRozMorris.
Her books are Nail Your Novel: Why Writers Abandon Books And How You Can
Draft, Fix and Finish With Confidence, available in print and on
Kindle She also has a novel, My Memories of a Future Life available on
Kindle (US and UK) and also in print. You can also listen to or download a free audio of the first 4 chapters
right here.
Comments
Writing marvellous prose to evocative music sounds wonderful but is possibly beyond me ...
I hope THE BOXER mentioned there as inspiration is Simon & Garfunkel's song...if so, I loved that song when I was 15, used to play it over and over...but it was as much the story told in the lyrics that fascinated me as the music.
Folk music has those old stories, which Simon & Garfunkel often tapped into...
But I remember being fascinated by those albums, like BAT OUT OF HELL,which came with the lyrics printed on the album sleeve...that fusion again of story and sound...
DIRK WEARS WHITE SOX by Adam and the Ants too (!)...had great little stories buried in each song...and printed on the album sleeve to read...
But then I think films should be brought in too...like Kubrick saying he found the music for BARRY LYNDON first...and then built the film up from there...sometimes each movement of an elbow or finger in that film is synchronised with the music...even down to a glance or pen signature on a cheque...orchestrated to beautiful music by Bach, Vivaldi, Paisiello, Mozart, Schubert...
Don't worry Roz...my UNDIE SOUNDTRACK won't be TOO pants...and is still a-percolatin' in da rhythmic pipeline!
Madwhippitt, I've never heard of writers using TV as background, but as Cole Porter would sayL anything goes!
Dan, the character CD is a nice idea, especially with multiple narrators. Funny how music can be such an instant mental switch.
John - yes, Jennie was indeed using S&G. I remember becoming hooked on it when I was a teen as well - there were some terrific story songs around.
And that's funny what you say about music structure and narrative. There must be so many parallels between the two artforms - repetition, expectations, themes and textures. When I was researching for My Memories of a Future Life I remember coming across an explanation of the various musical forms, which might have themes, developments, expositions, recapitulations .... all with recognisable counterparts in prose stories. Definitely looking forward to your Soundtrack...
Hi Catherine - you've changed musical personality completely for your Ice Hockey book! What a difference - and I wonder how such a change of pace and mood might have gone down in the old days when publishers liked authors to bring out similar books every time. If you'd like to come back for another Undercover Soundtrack piece you're most welcome.