Posts Tagged undercover soundtrack
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.
I settled down to read this week’s Undercover Soundtrack contribution and what did I find? The writer seemed to have plundered some of my own favourite tracks. Massive Attack’s Unfinished Sympathy. The Verve’s Bittersweet Symphony. Kate Bush’s Cloudbusting (though if you’re as much of a Kate Bush nut as I am you could be forgiven for thinking I was going to make an orchestral hat trick with Symphony in Blue). Not only has my guest served up a stirring soundtrack, she’s also made big waves with the novel she’s showcasing – securing a position on the shortlist of the Guardian’s Not The Booker prize. She says music is the emotional heart of the novel, speaking of relationships, times, hope, love and validation. Drop by the Red Blog for the Undercover Soundtrack of Deborah Andrews and Walking The Lights. Yes, despite the cover change, the blog is still resolutely red.
My guest this week delved into personal experiences to write her latest novel. In the 1970s she was working on a psychiatric ward where electric shock treatment was taking place. Years later, troubled by what she had seen, she wrote a novel. She turned to music to reawaken her own memories of the time and to create a cast of characters who are lost in the midst of a broken system. She remarks that her Soundtrack is as much about her own inner world as her characters’ – a line that for me is the very essence of the Undercover Soundtrack series. She is Diana Stevan and she’s on the Red Blog with the music that helped her write The Rubber Fence.
My guest this week grew up in the Mojave desert where rain was a rarity. So a key for her creative space is the sound of wild, wet weather. Sometimes it’s tracks that include storm noises, but she’ll just as easily tune into a rain station at the same time as a piece of music. The sounds go in tandem, whipping up just the right tumult for her writing. So it’s probably not surprising that her work has a Gothic element; she writes what she describes as Victorian and Gilded Age with a Gothic twist. It certainly went down well with USA Book News, who voted her first novel 2013’s best cross-genre title. She is Stephanie Carroll and she’s on the Red Blog with her Undercover Soundtrack.
My guest this week describes music as ‘a portable environment’. His work patterns have taken him all over the world and he might find himself writing anywhere from a station waiting room to a hotel lobby or a scorching beach. No matter where he finds himself, the music will put him back where he left off. Perhaps unsurprisingly, his novels explore people who are lost, displaced or caught between cultures and he finds their soundtracks in the work of contemporary classical composers (including one of my own favourites, Olafur Arnalds). He is Toni Davidson and he’s on the Red Blog with his Undercover Soundtrack.
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.
My guest this week says that music is the key to most of his work. The title of his short story collection, Nothing But The Dead and Dying, came from a line in a Simon and Garfunkel song. All the stories are bound by the landscape of Alaska, where he worked for a while in a construction crew. Ennio Morricone helped him recreate its barren desolation. And when he’s been stuck on a story, even to the extent of giving up, rescue usually comes in the form of a random piece of music. He is Ryan W Bradley and he’s on the Red Blog with his Undercover Soundtrack.
I’d like to bet that many readers of this blog went through a teenage phase where they wrote lyrics. Or is it just me? Well, it’s also my guest this week. He says the lyrics phase was superseded when the urge to create narrative took over, but music remains central to his creative life. It has formed many underlays for his novels, including the shorthand between friends, the backdrop to life events, the tunnel to the past. One major character came alive when he realised that music wasn’t a big deal for her. Funnily enough, a significant musical touchstone is Mogwai, who was cited just a few weeks ago by Philip Miller, one of his stablemates at the imprint Freight Books. There must be something in the water. Anyway, his name is Iain Maloney, and he’s on the Red Blog with his Undercover Soundtrack