‘There’s something timeless and questing and unique about Talking Heads’ – the Undercover Soundtrack, Stephanie Gangi

My guest this week says her novel is steeped in music – and indeed had a massive Spotify playlist to accompany her drafts and rewrites. But certain tracks stood right out, tracks that seemed to catch her attention from the radio, or stick in her mind with an essential flavour of the characters and story. They’re strong vocals – Van Morrison, Rihanna, The Lumineers, Adele. Powerful, sassy, feisty, rocky, tormented and brimming with humanity – and perfect for her novel of obsessive revenge after love goes wrong. Do drop by the Red Blog for the Undercover Soundtrack of Stephanie Gangi.

‘A song that makes sense of my story’ – The Undercover Soundtrack, Annalisa Crawford

To introduce this week’s guest I’ll quote the opening line of her post: she says she envies songwriters because they are masters of the concise. She writes short stories and quite often doesn’t know where an idea will go, but finds her way by listening to a song, letting the words flow, trusting the music. A cover version of Mad World gave her a particularly dreamy, haunting tale about a girl struggling with identity. The post captures so well what we do, whether short or long form. From conciseness – a spark or a song – we get depth, a whole world. Anyway, do drop by the Red Blog for the Undercover Soundtrack of multi-award-winning short story writer Annalisa Crawford.

How to blend a parallel, allegorical fantasy plot into your novel

I’ve had this interesting question from Kathryn Lane Ware Berkowitz on Facebook.

Does it ever work to have a parallel, allegorical, fantasy-type plot going along with your story? If so, when and how should they be woven together?

Aha – the perils and joys of combining genres. For the sake of argument, let’s assume the rest of your novel is contemporary fiction. I’ve seen a lot of manuscripts where writers try this – with variable success.

Here’s the problem: the book ends up as two genres. And readers of contemporary fiction don’t necessarily enjoy fantasy. The same applies if you’re mixing historical fiction with your fantasy strand.

Location, location, location

Setting is important to readers – and not just in terms of place, but time period as well. It’s one of the factors that makes us choose to read a particular book – perhaps because it’s set in a place we personally know, or a time in history that interests us. Some readers are drawn to stories simply because they are set in ancient Rome, or King Henry VIII’s court, or outer space.

And this is the peril of introducing a story strand in a different setting. You introduce an element they perhaps hadn’t bargained for. And fantasy or science fiction are just about the most difficult kind of world to blend with another kind of setting.

Here be dragons…

Fantasy and SF readers relish an invented world. Part of the pleasure is getting to know the customs, social order, laws of physics, magic systems, races, what people eat…. absolutely anything might be unfamiliar. But readers of contemporary or historical fiction don’t necessarily appreciate that.

How to sneak your fantasy/allegorical thread in anyway

However, some books get away with crossing the divide. How do they do it? Here are some guidelines.

1 Establish the first genre thoroughly before you introduce the second world.

2 Get the reader so insanely curious about the second world that they’ll be dying to go there. A good way to do this is with mysteries in the master story – will the second world explain who somebody is, give clues about a murder?

3 Write the second world in a way that will appeal to readers of the first. If your first genre is contemporary, remember that’s what your readers want. The familiar. So don’t present the fantasy/allegorical events as though it’s for fans of fantasy, with plenty of rich details about the world etc. Instead, be very sparing with those details – as though you were telling them to somebody who might easily be bored by them. (They might!)

Would you add anything? What annoys you when writers introduce an allegorical or fantasy thread to a story? What do you enjoy about it? Do you want to namecheck any books that do this well? (Psst… there’s more about this in Nail Your Novel: Plot. And may I be so bold as to mention My Memories of a Future Life?)

 

 

‘The emptiness of being outside a perfect romantic scene’ – The Undercover Soundtrack, Dan Gennoe

Oh my! Do you know what I forgot to do? There hasn’t been an Undercover Soundtrack for a few weeks, and now there is I forgot to publish the teaser post. How easily we forget our own routines. Even more heinous, I’ve been adding the tracks to the soundtrack for my own WIP, greedily enjoying it while forgetting I needed to share it with you. Apologies, apologies.

So: my guest spent 16 years as a rock journalist, interviewing stars and trying to understand what their music was trying to say. When he started to write his first novel, music took on a fresh role – no longer the endpoint, it was now the beginning. The book is the story of a man looking back on an intense love affair, and the music is an aural journey of the character’s obsession, his unstable serenity that could turn dark, his complex sense of comfort in the prison of his memories. Dan Gennoe is on the Red Blog with his Undercover Soundtrack (and has been since Wednesday, mea culpa). Proper writing post to follow later, but for now, sit back with Dan.

2 days to get 7-novel box set – the band is about to split

Remember us?

The band is about to split. Our magnificent seven will soon scatter. The box set containing our seven novels will evaporate at the stroke of midnight BST on Saturday 23 May.

We might even resume our normal colours.

Here’s a post that explains the box set experiment. Here’s one where we were asked just what kind of political statement we thought we were making. And, in case you feel like tackling a similar venture, here’s one where we explain lessons learned.

And here’s what it’s all about:

And here’s a pretty thingy to watch

So, for the final time, you can get the box set on all ebook platforms here.

And in the meantime, I’m taking a blogging break this weekend, but I’ll be back with The Undercover Soundtrack as usual. See you there.

‘Demons, frustrations and betrayal’ – The Undercover Soundtrack, Scott D Southard

My guest this week is making a return appearance to the series. Last time he wrote about how he’d driven his wife bonkers by playing certain albums that evoked the souls of his characters. This good spouse will surely be donning the earplugs again as his musical choice for his current novel is a striking album by Fiona Apple, which consists of drums, close-up vocals and percussive piano. He describes the pieces as having the feel of a therapy session, all raw emotion and obsession – and perfect for his characters who are all connected by an act of betrayal. He is Scott D Southard and he’s on the Red Blog with his Undercover Soundtrack.

And there’ll be a slight hiatus in my posting schedule this weekend as I’m teaching at WriteCon in Zurich. (This is tremendously exciting as it’s the first time anyone’s flown me anywhere to teach!) So I’m tied up preparing for that at the moment, but I’m anticipating some interesting issues to share afterwards.

Lessons learned from making a contemporary fiction box set – guest post at Jane Friedman

How do you organise seven time-strapped authors to collaborate on a project? Who does what, especially the tedious jobs like proof reading? How do you decide on an image, a price,  a name, a thrust for the publicity campaign, how much to spend on advertising?

Indeed, how do you get seven individuals to agree on anything?

How do you get the attention of the press – and is that worthwhile? What’s the difference between a proper promotion strategy and flinging the book into the market to fend for itself?

As you know, I’ve been taking part in a box set release with six other authors. We started work, in secret, back in November. Now, Jane Friedman has grilled us about the lessons learned in making a nice notion into an actual live product. Do come over.

‘Music for tragedy, coming of age, romance’ – The Undercover Soundtrack, Karen Wojcik Berner

My guest this week says she was a singer long before she was a writer, and when she started writing, music was a natural place to find story inspiration. She writes a series of novels based around the members of a book club, and many of the titles and characters come from tracks that have been special to her. I took unashamed pleasure in seeing Icicle Works and Peter Gabriel make an appearance – the latter with Sinead O’Connor (gasp). And one of her books was inspired by a track by Indigo Girls, which talks about reincarnation and the soul reinventing – possibly a familiar idea to longtime visitors here. Anyway, she is award-winning journalist and contemporary women’s fiction author Karen Wojcik Berner and she’s on the Red Blog with her Undercover Soundtrack.

‘A sequence of notes to transport you to a time and place’ – The Undercover Soundtrack, Debbie Bennett

My guest this week says she was always secretly a rock chick, and has provided pictorial evidence to prove it. When she turned her creative impulses to writing, music helped create the mood and tone. She writes gritty crime with a heavy dose of psychological thriller, and drew on a aural landscape of Alice Cooper, Soul Asylum, Bon Jovi and Skid Row. She is Debbie Bennett and she’s on the Red Blog with her Undercover Soundtrack.

‘Music: a space to make sense of life’ – The Undercover Soundtrack, Sarah Yaw

My first guest this year says that when she was very young, she spent a lot of time in theatres, watching her dad rehearse with bands. She would fall asleep to the sound as he played bass for the likes of Don Cherry, Lou Reed and his own band, The Everyman Band. Later she became consumed by music herself, pouring her soul into the playing of the clarinet. Tendinitis cut her music career short and a teacher suggested she write, encouraging her to write in the voice of one of the authors they’d been reading that term. ‘Voice’ – it was that word that started it. She realised that writing was musical, a sequence of rhythm, tension and release – and so her first novel took shape (and went on to win the 2013 Engine Books Novel Prize). She is Sarah Yaw and she’s on the Red Blog with her Undercover Soundtrack.