‘To make art by the grace of other artists’ – The Undercover Soundtrack, Camille Griep

My guest this week has set herself the task of reimagining the Trojan War and she says she couldn’t have done it without music. Her soundtrack has a stirring, epic scale with storming emotional keys, from Florence + the Machine to Thomas Tallis. More intimate pieces by Amanda McBroom and Esthero illuminated the interior lives of her Cressida (renamed Syd) and Cassandra (Cas). She is also a much-decorated writer of short stories and the editor of two cultural journals, Easy Street and The Lascaux Review. Drop by the Red Blog for the Undercover Soundtrack of Camille Griep.

‘Music was the writing tool to give me courage for this daunting task’ – The Undercover Soundtrack, Stephen Weinstock

My guest this week is another returner to the series, which is rather appropriate as the concern of his book series is reincarnation. He is a composer, pianist and dance accompanist for musical theatre with the UC Berkeley, Princeton, Juilliard, and the ‘Fame’ school. Last time he guested here he wrote about the hidden structures that tell stories. This time, nearly a year has passed and he finds himself questioning the role music is now playing in his writing life. So this is a slightly unusual Undercover Soundtrack, one of questions rather than statements. Nevertheless, you can expect some stirring musical choices. He is Stephen Weinstock and he’s on the Red Blog with his Undercover Soundtrack.

‘Music was solace, understanding and escape’ – The Undercover Soundtrack, Jake Kerr

My guest this week describes a journey – of looking for a life path, of circling around it many times until he found where he was meant to fit. He says he thought he wanted to be a DJ because he loved music, and indeed became a music industry journalist. Then one day he started writing stories – and realised this was how he wanted to use the experiences that music gave him. It was clearly a good move as he has been nominated for the Nebula, the Theodore Sturgeon and StorySouth Million Writers awards. He studied fiction under Ursula K. Le Guin and Peruvian playwright Alonso Alegria and is now contributing to Hugh Howey and John Joseph Adams’s Apocalypse Triptych. He is Jake Kerr and he’s on the Red Blog with his Undercover Soundtrack.

‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock

You can’t read much about writing advice before you trip over an essay about story structure, and how it works invisible magic on the reader. My guest this week has used sophisticated musical structures as the skeleton of his fantasy series, a series of nested reincarnation tales inspired by The Thousand and One Nights – and his influences range from Alban Berg to Frank Zappa. For him, music does not so much conjure up a scene or a character as an entire shape, of how an idea moves into a story and where it eventually goes. He is uniquely qualified to do so, as he is a composer, pianist and dance accompanist for musical theatre with the dance faculties of UC Berkeley, Princeton, Juilliard, and the ‘Fame’ school (though he has not yet said if he is reincarnated). Stephen Weinstock is on the Red Blog with his Undercover Soundtrack.

SHORT BREAK I’ll be taking a short break from blogging but will be back with a post on 30 November.

‘A lyric, a tune fragment, a thrilling chord run’ – The Undercover Soundtrack, JW Hicks

My guest this week says that most of her better ideas are sparked by music. She keeps noise-making apparatus at the ready in every room in her house. When she’s stuck she charges up her headphones with inspirational pieces and does a hand-occupying household activity until the ideas return, which usually isn’t long. Quirky and speculative fiction is her milieu, and her short stories have won prizes. Now she’s launching her debut dystopia novel, Rats, with the Triskele books collective. She is JW Hicks and she’s on the Red Blog with her Undercover Soundtrack.

‘My word-hand is singing’ – The Undercover Soundtrack, Marcus Sedgwick

There’s a shelf chez Morris that holds a set of books with such exquisite titles as Midwinterblood, White Crow, Floodland and, of course, the one quoted in the catchline of this post. So shall I cut to the chase and state that I’m honoured that he’s my guest this week? His novels blend folktales, myth and sometimes futuristic speculation, and music is a significant companion in the writing – from the mournful and joyous gypsy and folk ballads of Eastern European to the romantic compositions of Gustav Mahler. For his latest novel, The Ghosts of Heaven, no music would fit – so he composed his own. Do join me on the Red Blog for the Undercover Soundtrack of multi-award-winning author Marcus Sedgwick.

Science fiction – have we forgotten what it should be?

What makes a story science fiction? Is it an otherworldly location, the science, the time in which it is set?

I’m thinking about this because of a review I saw this week of a novel billed in The Times as science fiction, which sounded rather disappointing – and it’s put me on a bit of a mission.

I haven’t read the book so it would be wrong of me to name it, but it concerned a new planet populated by humanlike aliens. The main threads are the bringing of God to the indigenous people, and the exploitation of its resources by mining companies.

It seemed this story could have been set anywhere. The human challenges were no different from those in a historical novel. The other-world setting didn’t add anything fresh, except maybe to save the writer some research. (I see a lot of science fiction – and fantasy – novels that are written for this reason. If you invent the world, you can’t be accused of getting it wrong.)

But shouldn’t we be doing something better with science fiction (and fantasy)?

Bob Shaw says, in How To Write Science Fiction, that science fiction’s defining quality is that it deals with ‘otherness’. Whether it’s in the future, the present or the past, it’s about realities we don’t have at the moment.

He also says that the central idea in a science-fiction story is so important it should have the status of a major character. It needs to be developed and explored. It changes what people can do, creates new situations that illuminate the human condition. It adds a new quality of strangeness. And Shaw also says if that concept is taken away, the story should fall apart.

One of Shaw’s own short stories illustrates this. Light of Other Days sprang from an idea about an invention called ‘slow glass’, which allows you to see an event or a setting that happened years earlier. And so a man whose wife and child died in an accident can still see them, every day, in the windows of his house.

Take, by contrast, Andy Weir’s The Martian. An astronaut is trapped on Mars and has to make enough air, food and water to survive. It’s genuinely an addictive read and I loved it, but it could just as easily be happening in Antarctica or on a deserted island. The science provides the particular challenges and the possibilities, but it does not change the human essence of the story.

We’re used to thinking that any story outside the Earth’s atmosphere is science fiction, but they’re not. They’re survival stories. But take the slow glass out of Light of Other Days and you’d have no story at all. That’s science fiction.

The Martian is a great read. The other novel may be too. But it’s a pity if the critical press and the literary community are presenting them as examples of good science fiction.

Science fiction should be a literature of the imagination. I think it’s a shame if we forget this. The same goes for fantasy – Neil Gaiman’s Graveyard Book is a deeply invented world, and very different from The Jungle Book, which inspired it.

We only have to look at our own, real past to see how science fiction and fantasy should grapple with the idea of transformation. Every invention in the history of humanity shows us this. Think of electric light – we can change society and the very fabric of life with an idea like that. With phones – and particularly mobiles – we are reinventing the way society works, saving lives and creating new types of crime. With scientific narrative non-fiction like Rebecca Skloot’s The Immortal Life of Henrietta Lacks we also have a model for writing great science fiction. We can examine the impact of a scientific discovery and the quantum changes it brought, in individual lives and for global corporations.

Science fiction works on this same continuum, the scale of human change. A great science fiction idea should allow us to send humanity to startling new places with new advantages, cruelties and injustices. And those are places in our souls, not just other planets.

So – rant over. I’m hoping this isn’t too abstruse or marginalising for some of the regulars here, but you do know how I love the strange   … Do you write science fiction or fantasy? What are the ideas you’re grappling with? How do you refine them or test if they will be bold enough? Would they pass the Bob Shaw test?

POSTSCRIPT How could I have forgotten one of my favourite things about science fiction? It took Dan Holloway to remind me of it in a comment – the reason these ideas prove so beguiling is that they are metaphorically resonant. They enable us to see aspects of humanity that aren’t yet visible. Do read Dan’s full comment below.

‘Memory lightning’ – The Undercover Soundtrack, Nick Cook

My guest this week represents something of a milestone. When I was new to Twitter I remember stumbling across his tweets and his blog, where he was taking his first steps in building a presence as a science fiction writer. Meanwhile, he was working on his debut novel, and over the months and years I would catch tweets and Facebook updates about rewrites, and his search for an agent and a publisher. That persistence paid off; he found representation and then a deal with Three Hares Press. Hosting him here feels like the satisfying end of a long journey. He is Nick Cook, the novel is the first in the Cloud Riders series, and he’s on the Red Blog with his Undercover Soundtrack.

‘Music is a ritual of invocation’ – The Undercover Soundtrack, Alice Degan

I find it so interesting how one novel’s soundtrack can absorb so many styles.  My guest this week has written a supernatural mystery wrapped up in a 1920s comedy of manners and her soundtrack is a glorious tour of classical, folk and madcap jazz. Even more interesting, she uses Thomas Tallis – as my guest did last week – but with such a different outcome. We all operate in our own key of creativity, which is one of the wonders of this series for me. Anyway, this week you can enter the classical, folky and knock-bones skelly-shaking jazzy world of Alice Degan – with her Undercover Soundtrack on the Red Blog.

‘Black metal for reimagining a well-known legend’ – The Undercover Soundtrack, Steven A McKay

My guest this week writes reimaginings of the Robin Hood legends. He uses music to conjure the atmosphere but says he has to avoid anything that’s too tuneful or he’ll pick up his guitar instead. He admits his choice of Scandinavian black metal is a challenging listen – but finds the fast drumming, screaming vocals and glowering noise is exactly right to shift him away from the 21st century and into a time of outlaws, campfires and battles. He is Steven A McKay and he’s on the Red Blog with his Undercover Soundtrack.