Category Archives: music

#writing #music: Alan Silvestri II… Silvestri Harder.

Posted on by
40

As 2018’s National Novel Writing Month draws to a close, I thought I’d offer a little music to help those entangled in face-offs and final battles. We all could use a little muscle to pull us out and onward.

What better muscles can I give you than these?

xqbict878a3z

Alan Silvestri’s music defined adventure during my childhood: Back to the Future, Flight of the Navigator, and Who Framed Roger Rabbit come to mind. This powerhouse of a composer knows how to carry audiences off into the air with heroic brass and whimsical strings.

I know: you’re not here to start an adventure. You’re here because it’s time for you–and the characters of your story–to kick some villainous butt.

So let’s join up with the best of the best, the men of muscle who fly across the border and walk into a guerrilla nest without flinching. Men who chew cigars, sweat through camo paint, and say lines like “I ain’t got time to bleed” and sound tooootally bad-ass.

Predator isn’t a scifi-action classic purely because of Arnold Schwarzenegger’s performance, or only because of Stan Winston’s monster creation. Silvestri’s score plays a HUGE role in this story’s atmosphere, too.

Arnie’s military group is sent on what they think is a rescue mission deep in central America–until they find men of a previous “rescue mission” skinned and hanging from a tree. We see no evil, but we see its horror. Silvestri gives only a single, drum-like percussion, far off. An alien’s heartbeat, an echo of another nature. It’s never completely gone; rather, it hides in the rest of the orchestra’s bursts of harmony in the brass, strings, and percussion. The music sweeps up, sweeps down, all stealth and caution….until the two minute mark. The low brass of epiphany emphasizes the characters’ realization the situation is not what they presupposed.

Silvestri nails suspense with a moment when Arnold’s crew sets a trap for whatever’s killing them. The strings remain high, tight. No aggression in these first few moments, only fear–though no one wants to admit it. The combination of high strings and oppressive jungle makes characters and audience alike ready to snap under the pressure to wait. This moment often helps me add extra setting details to make the characters look hard for the villain as they wait for  the trap to be sprung. And you’ll know when the villain comes, all brass and drums.

Silvestri and violins, man…he just knows how to set them running up and down in arpeggios to quicken the heartbeat. With opening in a dissonance, we put our survival instincts into a panic. We run with the strings, and the moment they stop we skid to a halt. The brass and piano takes up the chase, hunting us, hunting the characters, both.

And climax? Ye GODS, Silvestri knows his pacing. The first minute is almost sweetly mysterious with the strings as we think we’ve won against the fantastic thing, this hunter. We can stand over it victorious as its strange insides are exposed to us…until the brass and piano begin. They begin a steady build, add the percussion, build. Then the strings start to run and you know you’ve got to get the hell out of there before evil steals your victory in death.

We all want our heroes to win the day, but we don’t want it to be easy for them–there’s no story without conflict. We gotta make our heroes scared. It takes some serious fear to make the final victory all the sweeter for characters and readers alike.

predator01

~*~ ~*~ ~*~ ~*~

Last-minute call for shout-outs to go in my newsletter! I’d love to  share what you’re up to with my readers. Click here to subscribe my newsletter, too!

 

 

 

Your input could also be a huge help for my next batch of Tales of the River Vine. I can’t decide who to write about next! Do you have a favorite character from Tales or Fallen Princeborn: Stolen that you feel needs some extra page time? Please let me know in the comments below.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

 

#readers, #celebrate with #BestSelling #RiverVine #stories & Fallen #Princeborn: Stolen– #FREE for a #Thanksgiving #Giveaway!

Posted on by
24

As autumn closes with a celebration of gratitude, I’d like to say thank you, fellow readers and creators, for giving my stories so much love. This weekend I found that FOUR of my six Tales of the River Vine hit the top ten in free YA monster fiction ebooks on Amazon, and they’ve stayed there. 

4TRVs in Top6 20Nov18

I’m floored, humbled, and thrilled all at once. To have stories that engage so many people…it’s as beautiful as the first snowfall of the year. I can never say “Thank You” enough!

What I can do is make the Platinum Edition of Fallen Princeborn: Stolen FREE today and tomorrow, Thanksgiving Day.

We have all of us had our bloody days, Charlotte. For many it is easier to remain in them than to change. To change requires to face a past stained by screams. (4)

This particular edition contains the complete first novel, one short story from Tales of the River Vine, AND an excerpt from the second novel, Chosen. 

~A wee excerpt from Fallen Princeborn: Stolen to whet your appetite~

Arlen sits in the other armchair, opposite Charlotte, and sips his tea slowly, all the mischievous sparkle gone. When he fixes upon Charlotte again, her stomach hardens: he bears the same expression as Dad’s partner did when he came to the door ten years ago. “We are not speaking simply of fairies and folk tales. We are speaking of that about which man no longer knows anything at all. Ancient, real, and powerful.”

Dorjan’s eyes drift toward the fire as he sucks the last of the jam off his fingers.

Charlotte spins her finger to spool the air. “Whatever. Just tell me what I need to know so I can get my sister out alive.”

“That is my point, Miss Charlotte. I doubt your sister lived past dawn.”

Need a little music while you read? I got you covered! I wrote about some of the composers and soundtracks that helped me with various points of the narrative of Stolen. Do check out their work for reading, writing, living.

03a21c27d88fe0c12c6b9b291611b68eMychael Danna’s The Sweet Hereafter

Craig Armstrong’s Plunkett & Macleane 

The Who’s Quadrophenia

Peter Gabriel’s “Heroes” and “Wallflower”

Daft Punk’s Tron: Legacy

 

While I wrangle kiddos and candy sweet potatoes for Thanksgiving dinner with my family, please be sure to leave a review on Amazon and Goodreads! Every review, and I mean EVERY review, helps a writer become more visible on the virtual bookshelf.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#writing #music: #TheWho

Posted on by
37

A rare gift comes to the writer when the story and its mixed tape of music ka-chunk and transform. No longer is the music merely the writer’s atmosphere, her source of ambience while storytelling. Oh no. The music is the heroine. The music is the villain. The music is the tension. The music is the scene.

Quadrophenia_(album)This happened to me during 2010’s National Novel Writing Month when I first began drafting Fallen Princeborn: Stolen. At the time I was only using instrumental music for storytelling, while  music like The Who’s Quadrophenia helped me survive the piles of grading in my dropbox. The month had barely started, so I was early in the story of Charlotte and her sister leaving their abusive family in the Dakotas for Wisconsin. Their coach bus breaks down in the middle of nowhere. Another peculiar bus appears with far-too-friendly good Samaritans, and despite Charlotte’s suspicions, she gets on, too.

And….now what?

I tried magical feathers. I tried mysterious goo in the axles. How could I get Charlotte and her sister to the Wall if I can’t make this frickin’ Samaritan trap–I mean, bus–have a plausible reason (for humans, anyway) to break down near the farmland by the Wall? I shoved the story aside and opened up a batch of essays. In the midst of telling the umpteenth student to please remember her thesis statement in the introduction, The Who’s “The Real Me” came on…

…and I saw it.

I saw the scene. I saw it all, frame by frame like a movie trailer. I knew what had to happen:  utilize the shapeshifters’ gifts,  the song to feel Charlotte’s fear race like a heartbeat.

For this song, I realized, embodies Charlotte.

The percussion, guitar, and style of singing are defiant to the point of raging. The song demands anyone, everyone, to look past the surface and see the pain, confusion, and ambition to be.  

In this snippet of the story, though, it is Charlotte who does the seeing. Only she sees the bus driver’s inhumane ability, and realizes they’re all trapped. I could feel all this when I first drafted the scene with the song on repeat in 2010.

Eight years later, little’s changed.

~*~ From Fallen Princeborn: Stolen ~*~

Stolen-KindleCvr-MARKETINGCharlotte bites back the snark and hides in her headphones again. She starts “The Real
Me,” thinking, The bus SMELLS old and gross, but nothing FEELS old and gross. Give me two seconds and I’d be out cold, it’s so damn comfortable.…
…
At least food has settled Anna down. Now she’s content to walk that quarter from Uncle Mattie up and down the fingers of her right hand. Then flips to her left. The quarter continues its deliberate tumble from pinky to ring to middle to forefinger to thumb and back again. Up and down. Then down and up.
Like practicing scales on a piano, observes Charlotte.
“Nice moves.” Studchin’s face betrays a lack of skills with a napkin.
“Thanks. My uncle taught me.”
Charlotte does a quick passenger check: Potential Homicidal Maniac sits as far from Anna as possible. Twitchy is de-threading his own coat. Mumbles starts singing “Lizzy likes locked things.” The Sweenils argue over who won that Waters Meet Bingo tournament. Mr. Smith sings too softly for her to hear.

Black feathers fly across their window. Violet flashes, a cackle rumbles.
Charlotte spins ’round and stares at the back of the bus.
Jamie is gone.
“Where is he?”
Anna bats those damn glitter-lashes at Studchin one more time before asking, “Who?” Slurp.
“The crazy acne boy with the bags. Where is he?”
Anna opens another cake. “Probably bathroom. Why, wanna ask for his number?”
“What’s this about numbers?” Studchin’s breath reeks of mouse turds and sugar. “Cuz I’ve got one, if you want it.” |Charlotte’s chest burns beneath the pendant. It’s burning like hell, she’s going to pass out— “Can you see the real me, can ya? Can ya?”
What the—? Who the—? Who has the audacity to sing a Who song OVER The Who? Charlotte swivels around in her seat, trying to locate the source. Not Studchin, he wouldn’t know good music if a chorus of show girls sang it from a Jacuzzi of custard. Not his bandmates and, thank god, not Mumbles. Potential Homicidal Maniac? Nope. Dead silent, head still.
It’s Mr. Smith, singing right along with Roger. But how can he hear what she’s listening to on her headphones, from that far up front? Charlotte shakes her head and stares at the back of Burly Man’s head. He stares right back at her from the rearview mirror. Not even the Sweenils notice him singing. No one but Charlotte, always Charlotte.
“Charlie?” Slu-urp. “What’s going on?”
“Shut it.”
“Char—”
“Can you see, can you see the real me?”
“SHUT IT.” To Anna or to Mr. Smith—Charlotte doesn’t care. Get away from my music, my head, my sister. Get away.
Ash-wind pulls on Charlotte’s nose. Black, green, black, green, black: the raven’s circling again. Get AWAY!
“Can you see the real me, Preacher?”
“I mean it, where is that Jamie guy?”
“I don’t know, Charlie. Why do you care?”
“Dude, what is up with your sister?” Studchin to Anna.
“Can you see the real me, Doctor?”
Ash chokes, feathers fly, song deafens, eyes glitter— “Can you see the
real me, Mother?”
Charlotte sees Mr. Smith’s fingers drum along in perfect sync with the song.
And he stares right back. His teeth are painted, ablaze in his smile.
“Can you see the real me me me me me me?”
The raven strikes.

~*~*~*~

Of course, using a song in a story is one thing. Getting permission to use that song is another matter entirely, as I explain in “Days of Walkmans Past.” 

I hope you take deeper look at Fallen Princeborn: Stolen on Amazon, and perhaps grab a copy to keep! Click here for paperback, Part 1 of the e-book, Part 2 of the e-book, or the complete e-book with bonus material. Please don’t forget to leave a review on Goodreads or Amazon, too!

20181031_160227_HDR

Blondie the Skeleton helps me say thank you!

My deepest thanks to all fellow writers and readers who have been sharing my stories and thoughts on craft. No matter how much I beat myself up for not writing enough, reading enough, living enough, you step up and share my words and make every struggle matter. Folks, these are writers well worth sharing, reading, and befriending, I promise you.

Historical Smexy Romance Writer Shehanne Moore

Family Drama & Mystery Writer James Cudney

Short Fiction Writer Cath Humphris

Short Fiction Writer Sally Cronin

Young Adult Fantasy Writer Laurel Wanrow

Poet & Photographer Sue Vincent

Fantasy Writer Michael Dellert

nanoIn the meantime, I’ve signed up for NaNoWriMo for the first time in years. It’s time to rewrite the third novel of the Fallen Princeborn Omnibus. I promise you even more mystery and mayhem, perhaps even a murder or two in the dank Pits dark and deep…

Are you joining thirty days and nights of literary abandon? Let me know so we can be writing buddies!

 

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

 

#writing #music: #Medea…I mean, #CraigArmstrong

Posted on by
34

d5b516f583996cdfbf92dc64e7491cc1

Oh man.

It’s October.

We’ve got a lot to cover, folks–studying Ray Bradbury, chatting with amazing indie writer Shehanne Moore, exploring a special facet of character development, and sharing The Who’s influence on my writing.

But before we go into ANY of that, let’s kick off this month of “ohmygoshiamactuallypublishinganovelthsimonth” panic–I mean, excitement–with some music I’ve known since college, music of  vital importance to my telling of Fallen Princeborn: Stolen. Music of origins mythical and mysterious…until SoundCloud yelled at me for uploading it and pointed out the proper composer.

imagesWe begin with a simple CD created to accompany my college’s production of Medea. I didn’t make the cast that term (not that I’m still bitter about that. I’m not. Seriously. WHY DIDN’T I MAKE THAT SHOW?!), but my roommate, herself a theater major, was the stage manager and therefore in charge of all things technical, which must have been a challenge when the director decided to get all “experimental” with stage direction, set, and soundtrack.

Because this play was to be experienced like a film, apparently.

Thankfully, my roommate knew when to pull back the soundtrack so the audience could hear the cast. Yes, I put aside my inner grumblings and attended the show. I had a lot of friends up there and behind the scenes, and I wanted to cheer them on in what had to be the toughest show performed that year.

When I think back to that performance now…I don’t really remember seeing the show. I remember hearing it–my friends’ cries when the children are killed, the Greek chorus chanting, the raging howl of anger and revenge…and this music. This, this choir of Latin caution, eternally building with strings and low rumblings of percussion. The sudden sweep into thunderous drums and the harmonies of battle until the last scream pierces the air–

And all is silenced.

~*~

Fast forward to New Mom Me writing whenever baby Blondie sleeps. It’s National Novel Writing Month of 2010, and I’m writing what will be the first draft of Fallen Princeborn: Stolen. It’s the moment when Charlotte first meets the book’s villain and realizes the lethal situation she and her captured sister are in. They are surrounded. They are underground.

There is no way out.

There is no hope.

I used the music of Medea to imagine the scope of impossible escape, the cold darkness that buried Charlotte and her sister underground. You can hear it, too, in the first four minutes of this track.

But as the baddies learn, you can bloody Charlotte, but you can never break her.

I’d repeat the change in music at the 4:17 marker to watch Charlotte rise up & fight back. The music careens up out of despair and dives, talons at the ready, to draw blood and breath from every evil. Over and over I listened to this music to catch the fire, the blood, the defiance, the sacrifice.

Eight years later, despite all the changes Stolen has experienced, that scene–and its music–remain the same.

Now that I know Scottish composer Craig Armstrong wrote this score, I’m excited to wander his music and pocket a few seeds to plant for stories years in the making. What music of your youth still nurtures the storyteller within? Perhaps it’s time to put on your headphones, close your eyes, and fly into the harmony of story.

Stolen-KindleCvr-MARKETING

~And now, a brief excerpt from Fallen Princeborn: Stolen, coming this Halloween~

Rot, age, old bones, twice-burned ashes—they choke the air like gasoline.
What Charlotte feels is cold. Lots of cold.
All she can trust is what she sees, and what she sees right now is white, brittle wood beneath her, the lavender light pulsing more intensely now from her feet and spreading out and down the tunnel.
Occasional claw marks.
One bloody handprint that begins on one root and is dragged across seven more before vanishing. It’s not a big handprint. There are little traces of purple in
it too, almost like purple glitter.
Glitter. Didn’t Anna have purple glitter? NO. Get your freakin’ act
together, Charlie, and focus. Dad, I wish you were here.
“Charlie?” The voice is rich, deep, and kind.
And dead.
Charlotte’s free hand wavers when a new breeze of gunpowder and chili wisps by. “D-dad?” The power of this place can’t summon the dead. Dad’s buried in holy ground far from here.
“He can also take you to your sister, if that is what you wish.”
The pulse light beats faster from Charlotte, racing to catch up with her heartbeat, so damned fast, she prays Campion cannot hear it from his perch among the last of the tunnel roots. His eyes are swirling, almost glowing, as the rest of him turns still, like the living tree-bones behind him.
“After all, this place is where dreams come true.”

Copy of Copy of We have all of us had our bloody days, Charlotte. For many it is easier to remain in them than to change. To change requires to face a past stained by screams. (1)

~HEY! I’M SHOUTING  FOR SHOUT OUTS!~

Shy about promotion? Me, too. So let’s try and share our stuff together, hmm? I just started up the monthly newsletter From the Wilds of Jean Lee’s World. It’s a separate set of updates from that of WordPress. In the newsletter, I share not only updates on my own fiction, but I’ll share updates on your wild creative endeavors, too! Just email me at jeanleesworld@gmail.com to snag a slot in a future edition.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#writing #music: Peter Gabriel’s “Wallflower”

Posted on by
28

hqdefault

There comes a time when all veneers must fall.

So many of us want only our brighest, strongest, best of selves to be seen. We don’t want anyone to know how broken we are. We build up the face we know others like to see on us, are comfortable seeing on us. Others wouldn’t know what to do with our weak, broken selves. They’ll mock our pain. They’ll shrug us off, bored of us. They’ll stand off to the side with limp arms, silent, waiting for us to fix ourselves so they don’t have to.

But for many–me included–one cannot fix one’s heart alone.

I think that’s why I’m drawn to the concept of soul mates. I know not every writer, let alone the romance writer, is keen on the idea. Real and fictional young people do fall in and out of love, after all. It’s happened to our friends and family, to characters like Feyre in Sarah J. Maas’ court series. Or there are those like my mother, widowed, daily debating if she can risk her heart with another person when the one she’d once vowed to grow old with died before his 60th birthday.

One of the most difficult things to do–more than facing one’s monsters, more than fighting one’s own murderous demons–is sharing the broken parts of one’s self with another soul. Your own two hands must grab hold of your ribs. Snap them open. Hold out that charred, cut, beaten thing called a heart, that thing you’ve done your damndest to not think about for years. It’s not like you’ve really needed it to live. Look how far you’ve come without it. Isn’t that enough?

You may tell yourself yes. You might yell yes time and time again to fill your ears with so many yes‘s it must become true.

And yet there will always be at least one echo that comes back to you:

No.

Copy of We have all of us had our bloody days, Charlotte. For many it is easier to remain in them than to change. To change requires to face a past stained by screams. (1)

This is where I come from when I write with the voice of my novel’s heroine, Charlotte. She’s been showing everyone her angry self, her superior self, her musical self for years. Those selves helped her wake up every day without screaming.

But what happens when she meets someone else who wears his own version of a “best” self, whose past is nothing but glass shards sharp enough to draw blood the moment they’re touched?

I have never had much of a romantic nature–Bo can attest to that–but the orchestral music of Peter Gabriel‘s New Blood has a way with my imagination, inspiring it to draw the intimate moments when two at last find the courage to discard every veneer and share all that they are–not just the brightest, nicest selves, but the bloody and broken, too.

Give your characters some time alone with the piano and strings. Let the tentative build  guide their hands to open themselves and share those broken pieces. And when the strings and piano swell at last, may your characters find that even the sharpest edges fit together.

And become one.

 

 

 

Thanks so much for reading. Check out my Books page for more on Fallen Princeborn: Stolen as well as links to my FREE short story collection, Tales of the River Vine.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

 

 

#lessons learned in #worldbuilding for #writing #fantasy #fiction: #Uprooted by @naominovik

Quote

Posted on by
24

When I find out an author is a big fan of MY favorite author Diana Wynne Jones, then I am required to check him/her out. ‘Tis Writer’s Law….or something. Shush, I did it, and I’m not sorry I did it because Naomi Novik’s Uprooted has such a STELLAR first paragraph you can’t help but be invested. It’s not a matter of wit, or intrigue, or setting. It’s the world-building within each sentence that plants the seeds of interest in readers to blossom in nearly no time at all.

Let me share the paragraph with you, and then we can break this sucker down.

22544764Our Dragon doesn’t eat the girls he takes, no matter what stories they tell outside our valley. We hear them sometimes, from travelers passing through. They talk as though we were doing human sacrifice, and he were a real dragon. Of course that’s not true: he may be a wizard and immortal, but he’s still a man, and our fathers would band together and kill him if he wanted to eat one of us every ten years. He protects us against the Wood, and we’re grateful, but not that grateful.

 

No sweeping descriptions of the world. No colorful portraits of characters. Yet Naomi Novik fills this paragraph with information other authors would stretch across a dozen pages.

Our Dragon. A capitalized “d” means this isn’t a typical beast. This is a title, or a name, and this Dragon thing belongs, in some fashion, to the group of which the narrator’s a part.

Our Dragon doesn’t eat the girls he takes. Right here, Novik won me over. How, just how many told tales have a dragon taking a person to eat it? It’s a trope, a cliche, a whatever-that-term-is. When we hear about dragons taking girls, we expect to hear about bones and death and the like. But Novik has taken this expectation, turned it on its head, and given us an entirely unexpected payoff. One sentence in, and we’re being told we can’t abide by the “typical” fantasy tropes.

…no matter what stories they tell outside our valley. Now we begin to get a sense of space, a little of time. Not a technological age, certainly, if stories can run rampant outside an area without correction. We’re also in a larger space–the narrator didn’t say “village,” or “town,” or even “city.” If there was only one community, the narrator would have used  a term to say as much. So, we can conclude we’re dealing with multiple communities in this space.

We hear them sometimes, from travelers passing through. They talk as though we were doing human sacrifice, and he were a real dragon. Again, we get a sense this is not a technological era. We also begin to get a sense of our narrator–“as though we were doing human sacrifice” has this harrumphing attitude behind it. The narrator scoffs the very idea that there’d be a “real dragon” involved, let alone any sort of willful killing.

Of course that’s not true: he may be a wizard and immortal, but he’s still a man, and our fathers would band together and kill him if he wanted to eat one of us every ten years. I love this sentence! We have another taste of the narrator’s attitude with the “of course,” treating any ignorant outsider with disdain. We also learn what “Our Dragon” is: a wizard, immortal, man. (By the way, I love how that’s said: “he may be a wizard and immortal”–like this is normal. It’s the narrator’s normal, clearly, but the fact the narrator acts like this is the normal gives readers yet another taste of what Uprooted’s world is like.) The fact that a mob of fathers could take on a wizard also gives us a sense of the narrator’s respect for the men in her valley. Lastly, we learn our narrator is a girl with the “eat one of us.” So, we know this is a girl that’s been raised in a society that’s had to offer their daughters every ten years to a wizard.

Why?

He protects us against the Wood. Hold on. Wood? What Wood? Woods are common in fantasy, sure. Sometimes they’re just woods, and sometimes they harbor dangerous characters. But the narrator isn’t talking about what lives in the Wood. She’s talking about the Wood itself. Something about the Wood is so powerful and so dangerous that it requires a wizard’s protection in order for people to live in this valley.

He protects us against the Wood, and we’re grateful, but not that grateful. Okay, I just love the narrator’s attitude here. Yes, she’s emphasizing that the valley folk aren’t willing to let their daughters be killed every ten years, but there’s a quirky snottiness here I really dig. This is a girl who’s not afraid to speak her mind about what sounds like a cornered life: growing up near a dangerous Wood, knowing you might be taken away from everything you know and love by a wizard for ten years. She should be happy her people are protected, and she knows it.

But she ain’t exactly pleased with her potential destiny, either.

Novik grows a beautifully unique tale with Uprooted, one I’m always eager to recommend to those who love fantasy. For those who love to write other genres, I’d still recommend this book to study its craft. This first paragraph shows what can be done if one’s not just thinking about establishing intrigue, or painting a scene, or introducing a character. Sometimes it takes all three elements to grow a paragraph that is truly extraordinary.

PS: I’ve got a new monthly newsletter to share updates on my fiction as well as other writers. If you’d like to spread the word about your work, just drop me a line at jeanleesworld@gmail.com Click here to subscribe to the newsletter.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

 

 

 

#writing #music: #EnnioMorricone

Featured

Posted on by
22

Composer Ennio Morricone–how to describe Il Maestro? He is an institution, an inspiration. He gave us THE showdown music, music so powerful the Sergio Leone would construct his films movie around Morricone’s music. You don’t edit Morricone. You follow Morricone. That’s how we have some of the most iconic moments in cinematic history, such as the climax from The Good, the Bad, and the Ugly:

Aren’t you just on the edge of your seats as the trumpets and drums build and build and build, the close-ups quickening and quickening until you can’t stand it anymore and SOMEONE HAS TO SHOOT and bam bam bam–just like that. Your heart remembers how to work, and you realize you’d stopped breathing for the last several seconds.

cover

That’s the power of Il Maestro.

I use Morricone often for writing my Fallen Princeborn Omnibus, both the short stories and the novels. No, not the western soundtracks–powerful as they are, one cannot think of anything but Clint Eastwood staring down the likes of Eli Wallach and Lee Van Cleef. When the narrative turns down the dark road and finds itself stranded in menace–that is when I turn up The Thing.

The score composed for John Carpenter’s The Thing is not what I would call complex, and that’s fine. An orchestra would feel strange for a Carpenter film, and Morricone knows how to draw out unsettling harmonies for maximum effect. Just listen to this theme (roughly the first four and a half minutes of the track). It’s so simple. So, so bloody simple. The synth rhythm, steady as a comatose heartbeat. The synth chords moving in their own quiet pattern in sync with the heartbeat. Nothing loud. Nothing heroic. Just this slow, slow add to the harmony: more synth around the 2:00 mark, and more around the 3:00 mark, this time off-rhythm, just slightly. Just…not quite right, just like The Thing that hides so damn perfectly at the Arctic research base. Morricone’s rhythms of sounds, of notes-not-quite-notes: he takes the synth and forms them into a bleak landscape. We see nothing with this music. We hope for nothing. We escape nothing.

Now let’s see how such a dire emptiness feels with an orchestra in Quentin Tarantino’s brilliant western The Hateful Eight.

Strictly strings at first. The endless bass with a steady rhythm of violins: The Thing‘s influence, perfect for this moment of travelers approaching a lonely outpost on a mountain with a blizzard at their heels. Around 0:50 the xylophone begins a simple harmony, its repetition reminiscent of the chime of Lee Van Cleef’s watch in For a Few Dollars More. The minor key of the string’s harmonies further presses the boreboding into our psyche. We can’t not think something bad is going to happen.

This has to be my favorite track from Hateful Eight. The drums a bit faster here compared to The Thing, which gives us the feel of impending…something. Something, we don’t know what, is coming. We also get the feel of characters not sitting around, waiting for that Something to come. They’re hunting Something as much as Something is creeping up on them. There’s a multi-layered mystery here of who’s hunting who, who is who, and the treachery you know lies in every heart of the Eight just bleeds through the music onto the story.

Now for the record, I should note that Morricone considers this composition to be a bit lighter compared to some of his other work. As Michael Ordoña of the LA Times quotes Morricone:

“What I wanted to do with the two bassoons at first — and later there is a tuba and later on the contrabassoon and then the trumpet, and in the end, the male voices — I wanted to de-traumatize the dramatic content of the music,” says Morricone. “To add something lighter, more curious, more interesting. The contents of the theme remain tragic and dramatic, but the way these instruments are played, to the extreme ranges of their timbre, makes them quite lighter and ironic.”
-Article: Ennio Morricone says a hands-off Quentin Tarantino let his ‘Hateful Eight’ music flow

When I first saw this quote, I couldn’t believe it. Lighter? Ironic?! What in the brewin’ blazes is he on about?

But then I realized that whenever I write with this track, I am writing a scene with my villains from my heroine’s perspective. We are sizing up the villains through her wise-ass frame of mind, so in a way, Morricone’s music fits even better than I expected. He creates the unbeatable menace, yet also defies it with a glint in the eyes and a smirk on the lips.

Il Maestro gives writers the music of dire emptiness, where a setting must not only be seen, but felt. Heard.

Feared.

Braved.

Hateful-Eight-Poster-Comic-Con

JeanLee-nameLogoBoxed

#writing #music: Queen

Posted on by
29

My headphones are often absconded.

“I’m in the control tower. Roger roger!”

“Mommy, we have to join the pit crew so Lightning can race across the finish line. Oh no, Doc Hudson crashed!”

Because of this, I have to watch what music I play while writing during the day. Sure, the kids know ACDC and The Who, but we’ve taken care to play only a few songs of each without certain, shall we say, bluntly crude language. I’ve already made the mistake of allowing the boys to listen to Weird Al Yankovic’s polka medley of Rolling Stones songs. Heaven help me if Biff belts out “Brown Sugar” around adults who know what he’s singing.

So of course, staring at Bo’s music collection, I grab the first kid-friendly band I see: Queen!

Yeah, yeah, I know. “Bicycle” is, um, mostly clean, and if I’m fast with the volume knob we can listen to “Don’t Stop Me Now.” But there’s always “We Are the Champions,” “We Will Rock You,” “You’re My Best Friend,” and their kickin’ theme to Flash Gordon!

One song, however, speared my memory good and deep. I love digging through music old and new for writing inspiration, but a few weeks ago Writer Me experienced a different sort of epiphany.

Just as the trauma of childhood influences how we write, so do the stories that engaged us as kids. I reveled in the adventures of discovery on Star Trek. I swung my play sword alongside She-Ra. I outwitted all the baddies from the Batman comics. Aaaand I begrudgingly liked the romance of Beauty and the Beast.

(Hey, every action junkie’s going to have that one romance that gets’em every time.)

Now I finally have the age and wit (half a wit, anyway) to see the connection between a cult movie’s theme song and my current project for Aionios Books, Fallen Princeborn: Stolen. 

61kFPiszXuL._SX355_

“Princes of the Universe” was one of three songs written by Queen for the 1986 film Highlander, a story of immortals living among humanity and dueling each other with swords because “there can be only one.” The original film wasn’t intended for any sort of sequel or series, so (spoiler alert) we find out that The Prize all immortals must fight over is the gift of mortality.

When I started writing Fallen Princeborn the fall after Blondie’s birth, I had that title before I had a setting. I didn’t really ponder why I was using the term “princeborn.” It simply fit. My immortals are created with skills and abilities that by all accounts make them “superior” to humanity. As the song says, no man can be their equal. What else are they than “born to be kings”?

In Fallen Princeborn, the antagonists are keen to do just that, while the protagonists, each broken and discarded, must learn to rise up or die trying.

Highlander went on to spawn some sequels and a television show, all of which my dad loved. So, week to week, Kid Me would hear this song while immortal men, women, and yes, even the occasional kid whipped out massive claymores, slick katanas, wicked rapiers to duel in dark alleys and ancient forests. There is almost always a Quickening: the loser beheaded, lightning floods the scene as the victor absorbs the power of the defeated immortal.

When I listen to “Princes of the Universe” now, I realize it wasn’t just the lightning and rock that stuck with me. Freddie Mercury’s lyrics buried themselves just as deep.

Here we are, born to be kings
We’re the princes of the universe
Here we belong, fighting to survive
In a world with the darkest powers
…
Here we belong, fighting for survival
We’ve come to be the rulers of you all

I am immortal, I have inside me blood of kings, yeah, yeah
I have no rival, no man can be my equal
Take me to the future of you all

Born to be kings, princes of the universe
Fighting and free
Got your world in my hand
I’m here for your love and I’ll make my stand
We were born to be princes of the universe

9835e4dede16d58a385e85e9f2238856This beaten down defiance drums as hard as Roger Taylor. Even just reading these words, you can feel glares burning through you like Christopher Lambert’s eyes. Whoever’s spitting these words may be bloody and bruised at your feet, but their faces tell you they’re nowhere near defeated. No power upon this earth can break them.

Such are the  heroes I am proud to give readers.

Give your protagonists a battle-song to defy the odds, and their heroics will live on in the reader’s imagination long after the final page is read.

 

 

 

 

#writing #music: Mark Mothersbaugh

Posted on by
35

61lm7CkCpqL._SS500What makes music epic?

Brass. All those horns just blasting bombastic harmonies.

Strings going to blazes and back.

Percussion pounding the heartbeats of heroes.

And don’t forget the choirs: lots of celestial singing for the unnatural nature of these  more-than-mortals.

What makes music cosmic?

This is where the synthetic can weave something new in the orchestral tapestry.

In the soundtrack to Thor: Ragnarok, Mark Mothersbaugh takes the epic aesthetic one  associates with the Norse gods and braids it gleefully with the cosmic synth to give us an entirely unique aural perception of a displaced hero fighting his way out of an alien environment.

Of all the tracks, I feel this to the best example of synth and orchestra duking it out for story’s sake:

We begin with a synth arpeggio that quickly swells into percussion, choir, brass, and strings. The hero is showing his mettle, but he is not in his element. At 1:00 there is just, oh, this brilliant fall felt in the battle drums and synth arpeggio. The synth occasionally overwhelms the orchestra: the villain is winning. Then right around 2:30 it feels like the strings are changing sides as they finger-slide amidst new arpeggios, challenging the brass to rise up, strike back. Choir and battle drums silence both in the final moment.

Who won?

Story-tellers, that’s who.

Music with this narrative power inspires the most uncertain writer to hand off their beers, roll up their sleeves, and tell their characters, “Now this is how you do it.”

I had this very moment with my hero and heroine not too long ago. Running from the villains they knew, I discovered new characters eager to snatch the heroes out of their environment and drag them into a location deep under water. The heroes are cornered in this alien place. Escape is surely impossible. The logical course of action is surrender.

Not gonna happen, Story-teller Me says. Hold my beer, and let me show you how it’s done.

Who the hell can surrender with this music on? Synth joins drums and calls the heroes to fight the undefeatable with the impossible and come out victorious even as the bars of imprisonment clang shut.

But I should be honest: these aren’t the songs that drove me to call Bo in the middle of his workday and tell him I needed him to hit a music store.

“Wait, you want me to buy music?”

(Bo’s CD collection is, admittedly, immense.)

Yes, I said, I need the score to Thor: Ragnarok.

“But you haven’t seen the movie.”

So?

“Then how do you know the music?”

YouTube. But the commercials suck and I need that music.

“What for?”

WHAT DO YOU THINK?

(I may have growled for good measure.)

“Okay, okay!” He comes home with the last copy (and a really nice Ennio Morricone collection for himself, but blah blah, that’s for another post).

One of the beautiful problems of imagination is that it’s not often a one-road traveler. It wants to go everywhere, meet everyone, see everything. Even in the most boring of places, our imagination sees more. My son taught me that. 

My sons have both been a source of heartache lately. The class bully has decided to target Bash with hurtful friendship. Biff’s teacher and principal have had to speak to me many times about his temper. One wanders friendless around the school yard, talking only to the teachers, while the other’s willing to hurt another child because if he doesn’t, the bully won’t be his friend any more.

I think on this often as I drive Blondie to her school one town over. Would  the boys be dealing with these same problems ten years from now? Good God, fifteen-year-olds, so wonderfully smart and creative, but also distant, violent, and too damn eager to please. Would they ever be friends in their own right? What would drive them to work together, as a team?

And a synth arpeggio flowed through my mind as I saw them on the run for their lives. What chases them? What’s waiting for them? Will they change for the better, or worse?

I dug through Tron Legacy, thinking the notes from Daft Punk, but they weren’t. They seemed to be of  their own creation, but I knew better. I had to have heard them from somewhere.

Providence: After a round of King Arthur, YouTube mixes things up with Thor: Ragnarok. 

There it is: the arpeggio.

And there they are: my sons, fighting, together. Brothers bound in blood, and in soul.

God-willing I’ll have time to write this story in the next few years. These brothers have already run so far through its many lands, met some bloodthirsty and bizarre characters. Like their little selves, they’re eager to sit me down and tell me all about it. I’m so sorry, little loves (for you’ll always be my little loves), that you have to show your patience, and wait for another story to be told first. But I have your fall into adventure. You share it with the heroes born alongside your sister. This music is for you all, and will keep your adventures burning bright inside me until your turn comes to race onto the page.

 

 

#Music & #ComicArt Help Fill The #Imagination Room for #Writers

Posted on by
29

Many students and writing comrades have told me of their need for silence when they write. I’ve never been one for silence; my ears quickly become distracted by any noise, be it a plane overhead, some neighbor’s car door, the heater. This could just be due to the fact I’ve got a squirrel’s attention span.

Or, it could be due to the fact I’m a parent with kids who are always, ALWAYS noisy: cars crash, transformers explode, trains go off cliffs, animals eat each other–they are all of them dramatic, violent little buggers. If they’re quiet, then that just means they’re using stealth to accomplish something even more devious, like treating the oven dials as spaceship controls.

So quiet’s not exactly a writing option round these parts. I need to isolate my imagination’s internal senses with visuals and sounds.

It begins with snapshots, like slides on a projector. Just pictures at first, distant and untouchable, until more slides come, a photogenic click click click of a paperless book. The cassette player ka-chunks and music sneaks into the space, quiet and wary until it meets the beat of the slides and then maybe, if I time it just right, I can jump into the images like double-dutch and land, smack. I’m there. I’m in. And I can feel it all.

With Book 1 of the Fallen Princeborn Omnibus due for release this fall, I’m already hip-deep in Book 2. New world-building needs arose involving some minor characters, and for the first time in I don’t know how long, I couldn’t see their world. I’m just sitting in a blank room of silence, the projector shining this white rectangle of nuthin’.

And with the kids on spring break for two long, LONG weeks, the time to focus my search was not coming. I’d dust off one snapshot of just a character’s arm, or some sort of shadow-blob in the background. The next day I just get a bruise-ish color, but no shapes.

It was so infuriating I even vented to Bo about it. I need something that looks alive, I said.

“Living buildings.”

No, not alive, just looking alive.

“Looking…?”

And in the water. A dark place, but they gotta see where they’re going.

(Oh yes, he’s furrowing his brow through this entire exchange.) “Dark, but…there’s light?”

Yes.

“And that’s supposed to be here, like, on Earth?”

Yes.

“O-kay.”

Hopeless, I thought. I’m stuck forever.

An hour later, after the boys have read about outer space and trucks, and Blondie learned what Roald Dahl’s Mathilda will do to anyone who rips up a library book, Bo emails me a search result of images. Take a look here. Notice where they come from? Comic books.

Duh. Why didn’t I think of this? Marvel and DC both have lords of the sea in their lore: Namor the Sub-Mariner, and Aquaman.

But in studying the Aquaman archive, I find my own shoulders hunching into a “meh” position. I don’t want to make yet another version of Atlantis.

Then two things happen at once: a happy accident, you could say.

First, I open a different file from Bo:

new-atlantis

Click.

The blue. The cold darkness balanced with light. The living feel of the dome and rock…at last, a clear slide! In my mind’s projector I can finally sit on the bench, staring, waiting for the cassette player to come on, or another slide to click into place.

Nuthin’.

Oh, Imagination is shaking the box for the other slides. It’s crawling on hands and knees to search under benches and that sad excuse of a cart with rust on the bottom shelf and a cracked wheel.

Still not found. Not for three. Damn. Days.

On a borrowed computer, I find an album I haven’t listened to in ages:

Dune.

Yes, the David Lynch film, scored by Toto.

As a kid, I only paid attention to the film when Captain Picard and all the good guys with the weird blue eyes rode on giant worms and blasted baddies into smithereens. The music was super dramatic with its drums, choir, guitar, orchestra. The first minute here should give you a sense of that (Ignore the second minute with the creepy kid):

Way, way back, in the corner of the storage room, Imagination digs up an old cassette tape. Something eerie. Distinctly awed. Cautious.

It was from Dune.

I start skimming the tracks, and by God, I find it.

Ka-chunk.

Imagination turns up the volume. The slide deepens. I step forward, as cautious as the choir. The rhythm is slow, deceptive. Imagination nudges me into the minor harmonies and invisible currents. Will I tangle them, ruin their power? Will I fall, bloody the ground?

I might.

But it’s a risk worth taking, every time.