Soundtracks or Music and Creativity

Back over a month ago I was having a chat with DS1's art teacher. He was suggesting that DS1 listen less to his ipod while working to allow the creativity to flow unhindered just for a bit. That led to an interesting discussion and one that was at the forefront of my thoughts.

I know several writers have clear sound tracks for their novels (click on the names for the link) - Julia Williams and Elizabeth Chadwick and I know Julie Cohen may not have a soundtrack as such but music plays a key part in writing for her.

Now I can't listen to music during the first draft unless it is classical music I am so familiar with that it soothes and in truth goes through me. It does not take an active part of my brain to interact with it. However I have discovered during this rewrite of August Rock that music has really hit me. I will hear a song and think -YES!! Whether it is the lyrics or the tone or the voice its self something has jumped out and said August Rock. So I know have a sound track for it which is growing. I find that listening to it helps me carve more definition in the story.

Now going back to the discussion with the art teacher and DS1, I mentioned this aspect - the carving-fine tuning and the teacher said that he could see that working and possibly being helpful at that stage. DS1 looked a bit sceptical but he was willing to give it a go - although I think it meant surgical removal of the ear buds!

Also playing into this is the comment that I made to DH after seeing the Watchmen the other night. I thought it was a brilliant soundtrack. The music truly enhanced the film for me. I can say the same of the soundtrack to Twilight which thanks to dd's fascination I have seen four or five times (The baseball scene with the Muse's Supermassive Black Hole is stunning). Are there any films that you feel the soundtrack has either killed the film or set it on fire?

For the curious the sound track for August Rock is:

Broken String - James Morrison and Nelly Furtado
Breakeven - The Script
Use Somebody - Kings of Leon
Gotta be Somebody - Nickelback
I'm With You - Avril Lavinge
Greatest Day - Take That

Do you have soundtracks for your work? Do you listen when you write?

Links Again

If you don't read Nathan Bransford on a regular basis then you must drop by and read this post on character motivation. Today it was one of those hit on the head type of things. I am well back into the rewrite of August Rock and thus far pleased with the new shape and feel. By removing Tristan's point of view - he had become more interesting by being less transparent and much easier to see why Judith struggles with him and his motivations. However so far this has led to a major loss of words, but I feel confident went I tackle the editing I will make them up with filling out the new dimensions of Judith's story.

I am also at that point when I wonder if I am totally deluded and I have wandered off into the far land of writing meaningless tripe. I have taken a fairly straight forward romantic story and twisted it. Nothing is quite clear in it any more. I don't know who if any one Judith will choose - this maybe a good thing - maybe the reader won't either. Toby, my ghost, has remained a constant - what he wants is clear, but in the next edit I may have to shake up his 'current' day activities a bit but not yet. Judith has to reach her goals and I have hit the last third of the story - nail biting time. I wonder if what I had for breakfast will effect which path she takes today or will the film I saw last night (Watchman - which I loved but I have to confess seeing it here in Dubai probably left me with a limited view as I understand the 'full' version is 162 minutes and we were in the cinema a whole lot less than that - more like 120/130!) will reflect in today's production?

The Dubai Literary Festival authors that I listened to gave me much food for thought - especially about my writing.
-Kate Mosse's comment about not having to be the same writer as you are a reader really hit home.
-Rachel Billington's comment about the tension your own values bring to your writing and your characters.
- The vastly different takes on how to work with research.

All of this has bashed around in my skull and I know know what I want to write about and A Cornish House is in the right spot so August Rock is now on the road to becoming more me and I am very clear where the WIP is going once I can put my hand back onto it. I can't tell you the sense of relief to finally know what kind of writer I am. Now my problem is to find a writer in a similar vein - and here lies the problem - I am not the same as a reader and a writer. I know I haven't read him or her yet! So I can't say to agent or editor in the style of .....

Do you know what type of writer you are? Is it the same as your reading voice?

PS- just found this-

You Should Be a Film Writer

You don't just create compelling stories, you see them as clearly as a movie in your mind. You have a knack for details and dialogue. You can really make a character come to life. Chances are, you enjoy creating all types of stories. The joy is in the storytelling. And nothing would please you more than millions of people seeing your story on the big screen!

What Type of Writer Should You Be?